Whole English Catalog

FALL 2016 The English Major Club

Do you want to meet more students in the department? Do you wish you had friends to go to for help on assignments? Do you enjoy just having fun?

The English Club is looking for members. It is a club for majors, minors, and anyone who simply enjoys anything written. If you've been looking for someone to help proof your assignments, talk about books, check out Buffalo's literary scene, and simply relax and have fun with, then the English Club is for you.!

E-mail [email protected] for more information

Look for us on Facebook under UB English SA.

Did you know…

Employers in many diverse fields - including business, law, government, research, education, publishing, human services, public relations, culture/entertainment, and journalism - LOVE to hire English majors because of their

 ability to read and write effectively and articulately  excellent verbal communication and listening skills

 capacity to think critically and creatively  comprehensive knowledge of grammar and vocabulary  ability to weigh values and present persuasive arguments

PLUS, knowledge about literature allows for intelligent conversation at work, dinner, meetings and functions. Go English Majors!

Visit Career Services to look at potential career paths and to help plan your future!

UB Career Services is the place on campus to help you explore how your English major connects to various career paths. Meeting with a career counselor allows you to explore your interests and career options while helping you take the necessary steps to reach your goal. You can also make a same-day appointment for a resume critique, cover letter assistance, or quick question on your job or internship search.

Call 645-2231 or stop by 259 Capen Hall to make an appointment.

FYI… Incomplete Policy: The grace period for incomplete grades is 12 months.

Incomplete grades Will default in 12 assigned for (semester): months on:

Summer 2016 August 31, 2017 Fall 2016 December 31, 2017 Spring 2017 May 31, 2018 English Department News

 UB English is on Twitter!! Follow us: @UBEnglish

 Look for us on Facebook at: University at Buffalo English Department

 Flip to the back of the catalog to see sections dedicated to the Creative Writing Certificate, as well as the Journalism Certificate Program.

 The UB Seminar is the entryway to your UB education. These are “big ideas” courses taught by our most distinguished faculty in small seminar settings. Em- bracing broad concepts and grand challenges, they encourage critical thinking, ethical reasoning, and reflective discussion from across the disciplines. The semi- nars are specifically designed to address the needs of incoming freshmen and transfer students and to prepare them for the academic expectations of a world- class research university.

 Keep an eye out for our Fireside Chats Series. These are talks hosted by our faculty, with free lunch provided.

 Don’t forget about the annual End of the Semester/Holiday Party! This is held during the last week of classes in our main office, Clemens 306.

 For much more information, please visit our website at: English.buffalo.edu

University at Buffalo Counseling Services

University students typically encounter a great deal of stress (i.e., academic, social, family, work, financial) during the course of their educational experience. While most students cope successfully with the demands of college life, for some the pressures can become overwhelming and unmanageable. Students in difficulty have a number of resources available to them. These include close friends, relatives, clergy, and coaches. In fact, anyone who is seen as caring and trustworthy may be a potential resource in time of trouble. The Counseling Services office is staffed by trained mental-health professionals who can assist students in times of personal crisis.

Counseling Services provides same-day crisis appointments for students in crisis.

Please visit our website: http://www.student-affairs.buffalo.edu/shs/ccenter/crisis.php

Telephone: (716) 645-2720 or (716) 829-5800

Hours: Mo, Tu, Fri: 8:30am - 5:00pm After-Hours Care: For after-hours emergencies, We, Th: 8:30am - 7:00pm an on-call counselor can be reached by calling Counselors also available on South Campus (2nd Campus Police at 645-2222. floor Michael Hall offices), Monday 8:30am - Additional emergency resources can be found 7pm, Tuesday-Friday 8:30 am - 5 pm. by going to our Crisis Intervention page. English Honors Program

The English department offers an honors program for serious students who enjoy doing intensive work and would like the challenge and excitement of exchanging ideas and research with fellow students and instructors in a seminar setting. Planning and writing a thesis is another opportunity the honors program offers.

Minimum Requirements for Department Acceptance: For entry to the English Honors Program, students must have a 3.5 GPA within English or faculty recommendation for Honors; if the latter, students must have achieved a 3.5 GPA before graduation in order to graduate with honors, and submit a 5-7 page critical English writing sample. Students with a 3.8 GPA or higher in English do not need to submit a writing sample, simply stop in and let us know you would like to be a part of our Honors Program.

Department Requirements for Graduation with Honors 1. One English Department honors seminar (3 credits). 2. One Senior Thesis - independent work culminating in a thesis of 30-35 pages. This might be a research essay or a form of creative work. A creative thesis must include two introductory pages placing the work in a conceptual context. The honors student may choose to take either one or two semesters to complete the honors thesis (3-6 credits).

The UB English Department is also a proud member of the International

English Honor Society, Sigma Tau Delta ~ Σ Τ Δ .

Student membership is available to undergraduate students currently enrolled at a college or university with an active Sigma Tau Delta chapter.

Candidates for undergraduate membership must have completed a minimum of two college courses in English language or literature beyond the usual requirements in freshman English. The candidate must have a minimum of a B or equivalent average in English and in general scholarship, must rank* at least in the highest thirty-five percent of his/her class, and must have completed at least three semesters of college course work. *This requirement may also be interpreted as "have an overall B average in general scholarship." (e.g., 3.0 GPA on a 4.0 scale).

There is a one-time enrollment fee ~ $47 membership fee includes $40 Sigma Tau Delta Lifetime Membership fee, $3 SUNY GUSF fee, and $4 that will go towards a fund to support the activities of Sigma Tau Delta at the University at Buffalo.

Enrollment takes place once a year, applications and enrollment fee are due mid-March.

For more information on Sigma Tau Delta and member benefits, please visit their website at: http://www.english.org/sigmatd/index.shtml Department of English - Fall 2016 *Subject to change 198 UB Transfer Student Seminar Mondays 1:00 Biehl 199 UB Freshman Seminar: Making Shakespeare - Case of Hamlet MWF 3:00 Bono 199 UB Freshman Seminar Honors Section: Walking Dictionaries MWF 2:00 Hakala 199 UB Freshman Seminar: Iraq and the American War T Th 9:30 Holstun 199 UB Freshman Seminar: Buffalo Poetry & Poets MWF 12:00 Hubbard 199 UB Freshman Seminar: Me? Language and the Self T Th 11:00 Miller, C. 199 UB Freshman Seminar: Watching Television T Th 11:00 Schmid 199 UB Freshman Seminar: Watching Television T Th 2:00 Schmid 199 UB Freshman Seminar: Hollywood and American Lit MWF 10:00 Solomon 199 UB Freshman Seminar Honors Section: Real Life: Telling True T Th 9:30 Lyon Stories through Creative Non-Fiction 193 Fundamentals of Journalism W (eve) 7:00 Galarneau 207 Intro Writing Poetry/Fiction (CW) CL2 Course T Th 12:30 McCaffery 207 Intro Writing Poetry/Fiction (CW) CL2 Course M W (eve) 7:00 Flaccavento 207 Intro Writing Poetry/Fiction (CW) CL2 Course M W 5:00 Nashar 209 Writing About Science - *New Course* CL2 Course MWF 10:00 Mazzolini 221 World Literature MWF 12:00 Hakala 225 Medieval English Literature MWF 10:00 Schiff 232 British Writers 2 MWF 9:00 Sheldon 241 American Writers 1 T Th 12:30 Daly 242 American Writers 2 T Th 9:30 Dorkin 254 Science Fiction MWF 11:00 Dickson 256 Film T Th 2:00 Spiegel 258 Mysteries T Th 11:00 Eilenberg 263 Environmentalist Writings MWF 9:00 Hall 271 African American Literature MWF 1:00 Huh 276 Literature and Law T Th 2:00 Lyon 276 Literature and Law T Th 11:00 Rowan 281 Special Topics: Literature & Medicine MWF 11:00 Miller 281 Special Topics: Arts One Wednesdays (eve) 7:00 Young 301 Criticism T Th 9:30 Lyon 301 Criticism T Th 2:00 Ma 301 Criticism MWF 12:00 Schiff 309 Shakespeare, Early Plays (E) T Th 3:30 Mazzio 310 Shakespeare, Late Plays (E) T Th 2:00 Eilenberg 331 Studies in Irish Literature (B) MWF 10:00 Keane 342 Studies in U.S. Latino/a Lit (B) MWF 2:00 Tirado-Bramen 346 Comparative Ethnic Lits (B) MWF 3:00 Huh 347 Visions of America (E) T Th 3:30 Daly 353 Experimental Fiction Tuesdays 12:30 Anastasopoulos 354 Life Writing T Th 12:30 Lyon 356 Popular Culture T Th 11:00 Spiegel 361 Modern and Contemporary Poetry T Th 12:30 McCaffery 364 Debates in Modernism T Th 3:30 Wasmoen 377 Mythology (E) or (B) Mondays (eve) 7:00 Christian 378 Mythology of the Americas (E) or (B) *Formerly ENG 377A* T Th 9:30 Tedlock 379 Film Genres Wednesdays (eve) 6:00 Frakes 379 Film Genres: Shakespeare & Film (E) Mondays (eve) 7:00 Bono 381 Film Directors (Off Campus) *Formerly ENG 438* T (eve) 7:00 Jackson 390 Creative Writing Poetry (CW) T Th 3:30 Goldman 391 Creative Writing Fiction (CW) Thursdays (eve) 3:30 Anastasopoulos 394 Writing Workshop-Spectrum Photographers (JCP) Mondays 7:00 Biehl 394 Writing Workshop-Spectrum Newspaper Writers (JCP) Mondays 5:00 Biehl 396 Journalism: Editing Cyberspace, Content Production Th (eve) 7:00 Anzalone and Nurturing the Conscientious Writer (JCP) CL2 Course 396 Journalism: News Literacy/Feature Writing (JCP) CL2 Course T Th 11:00 Biehl 396 Journalism: Sports Journalism (JCP) CL2 Course Mondays (eve) 7:00 McShea 398 Ethics in Journalism (JCP) Tuesdays (eve) 7:00 Andriatch 400 Department Honors: 20th C Literature in the U.S. MWF 1:00 Solomon 406 Epic Literature (E) Tuesdays (eve) 7:00 Frakes 409 Studies in Shakespeare (E) T Th 12:30 Mazzio 418 Studies in African American Lit/History (B) MWF 10:00 Young 434 Advanced Creative Writing: Poetry (CW) T Th 12:30 Mac Cormack 435 Advanced Creative Writing Fiction (CW) T Th 3:30 Okorafor 447 Literature of Migration Online Online Conte 495 Supervised UG Teaching MWF 1:00 Reid, R.

JOURNALISM COURSES

193 Fundamentals of Journalism Wednesdays (eve) Galarneau 394 Writing Workshop (Spectrum - Photographers) Mondays Biehl 394 Writing Workshop (Spectrum Newspaper) Mondays Biehl 396 Journalism: News Literacy/Feature Writing T Th Biehl 396 Journalism: Editing Cyberspace, Content Production Thursdays (eve) Anzalone and Nurturing the Conscientious Writer 396 Journalism: Journalism in the Age of the iPhone M (eve) McShea 398 Ethics in Journalism Tuesdays (eve) Andriatch

CREATIVE WRITING COURSES

207 Intro Writing Poetry/Fiction T Th McCaffery 207 Intro Writing Poetry/Fiction MW Flaccavento 207 Intro Writing Poetry/Fiction MW Nashar 390 Creative Writing Poetry (CW) T Th Goldman 391 Creative Writing Fiction (CW) Thursdays Anastasopoulos 434 Advanced Creative Writing Poetry T Th Mac Cormack 435 Advanced Creative Writing Fiction T Th Okorafor Compilation of Required Courses for the English Major Criticism

301 Criticism Ma 301 Criticism Schiff

Early Literature

309 Shakespeare, Early Plays Mazzio 310 Shakespeare, Late Plays Eilenberg 347 Visions of America Daly 377 Mythology (OR Breadth of Literary Study) Christian 378 Mythology of the Americas (OR Breadth of Literary Study) Tedlock 379 Film Genres: Shakespeare & Film Bono 406 Epic Literature Frakes 409 Studies in Shakespeare Mazzio

Breadth of Literary Study

331 Studies in Irish Literature Keane 342 Studies in U.S. Latino/a Lit Tirado-Bramen 346 Comparative Ethnics Lits Huh 377 Mythology (OR Early Literature) Christian 378 Mythology of the Americas (OR Early Literature) Tedlock 418 Studies in African American Lit/History Young UB Freshmen and Transfer Student Seminars

The UB Seminar is the entryway to your UB education. These are “big ideas” courses taught by our most distinguished faculty in small seminar settings. Embracing broad concepts and grand challeng- es, they encourage critical thinking, ethical reasoning, and reflective discussion from across the dis- ciplines. The seminars are specifically designed to address the needs of incoming freshmen and transfer students and to prepare them for the academic expectations of a world-class research uni- versity.

All entering freshmen and transfer students (domestic and international) coming to UB with under 45 credits take a three-credit UB Seminar.

Having completed a three-credit UB Seminar, you will be able to:

 Think critically using multiple modes of inquiry.  Analyze disciplinary content to identify contexts, learn fresh perspectives, and debate and dis- cuss problems in the field.  Understand and apply methods of close reading, note taking, analysis, and synthesis.  Recognize and debate ethical issues and academic integrity in a variety of settings.  Demonstrate proficiency in oral discourse and written communication.  Develop essential research and study skills, such as time management.  Use an ePortfolio for at least one assignment.  Understand the academic expectations pertaining to being a student at the University at Buffalo and to higher learning at a research university. 198 UB Transfer Student Seminar, Mondays, 1:00-1:50, Reg. No. 25107 Jody Kleinberg-Biehl: Read and Understand News in the 20th Century

What is happening in the world? Who cares? Could Donald Trump really be the next president? Is he getting too much press or not enough?

News hits us 24-hours a day and often it’s tricky to figure out what to read and who to believe and even what it means to be a journalist. In this class, students will become more discerning consumers of news. Students will use critical-thinking skills to determine what news sources are reliable in the digital world. Through readings, class discussions and written assignments, students will deconstruct breaking news stories occurring in print and online and differentiate between fact and opinion. We will look at issues of bias and fairness, separate news from propaganda and advertising and talk about possible models for the future of journalism.

This transfer seminar is a 1-credit, discussion-based class. It will help new upper division UB transfer students transition to UB and help them adjust to the types of learning and expectations of a large re- search university. The course will provide a small group setting and interactive lectures, assign- ments and discussions. The course will help students understand the UB curriculum and prepare them to create an electronic portfolio for their work.

199 UB Freshman Seminar, MWF, 3:00-3:50, Reg. No. 23430 Professor Barbara Bono: Making Shakespeare - Case of Hamlet

William Shakespeare really did exist, and really did write all or most of the plays traditionally at- tributed to him, as well as some others which have been lost. But how did Shakespeare—the glover’s son from Stratford with the good grammar school education, the possible Catholic tutor, the young man from the provinces come down to the big city to begin to play on and to Continued... write for the London stage, the businessman of the documentary rec- ord—become “Shakespeare,” the quintessential “author” in the west- ern literary tradition, the bane and delight of every school child today, and the continued subject of critical, philosophical, and aesthetic ap- preciation and reinterpretation?

We can address this question through any number of Shakespeare’s plays. Our proof text for this semester will be Hamlet, in the 2010 Nor- ton Critical Edition of the play, edited by Robert Miola, which com- bines comparative texts from the early editions of the plays with rec- ords of performances from Edwin Booth to Jude Law, contexts from the Bible to Thomas Kyd, criticism from John Dryden to Margreta DeGra- zia, and afterlives from 18th-century experimentations with the play’s ending to Tom Stoppard and John Updike.

In addition to considering the play through this critical edition we will also review the performance tradition in film, from Olivier (1948) to Branagh (1996) to Almeryda (2000), and when possible in stage performance, as in the recent filmed versions by David Tennant (2010) and Benedict Cumberbatch (2015) and any live performance which happens to become available to us.

Finally, the fall 2016 semester provides us with the ideal time to ask, and to begin to answer, this question because it is also marks the 400th anniversary of Shakespeare’s death, the occasion for commemorations around the world, including year-long region-wide activities here, indexed on-line under https://buffalobard.wordpress.com/ Therefore in this class we will participate in a number of these activities, including visiting library displays of Shakespeare early Folios and supplementary rare book texts at both the UB Poetry Collection and the downtown Buffalo and Erie County Public Library, attending a UB Humanities Institute Conference featuring numerous world-renowned ex- perts in Shakespeare’s texts and their interpretation, and helping plan a closing party modeled in part on David Garrick’s famous Jubilee of 1769, which made “Shakespeare” a celebrity and the dis- tinctive poet of the British Empire and presided over by Dean of Undergraduate Education UB Eng- lish Professor Andrew McConnell Stott.

In addition to reading the play and its criticism and watching the films, stu- dents will complete 3 Worksheets assessing their note-taking skills and com- prehension of the play, an editing and interpretative exercise which will also teach and assess issues of indebtedness and academic integrity, 3 brief Re- sponse Papers integrating their reactions to the films with criticism, conduct an in-class oral “Film Critics’ Debate,” and conceptualize and present a brief creative response to the seminar’s content. They will also be taught time management by completing, by the end of the third week of class, a flow chart derived from the Syllabi of all their courses, logged on DIGI- CATION, for all of their formal academic assignments for the semester, and then, in the week before Thanksgiving, recurring to that flow-chart and com- paring where they are with their semester’s work.

199 UB Freshman Seminar, MWF, 2:00-2:50, Reg. No. 23431 Professor Walter Hakala (University Honors Section): Walking Dictionaries

Lexicography (‘writing about words’) fundamentally shapes the ways we think about and organize the world around us. From 4,500-year-old Sumerian clay tablets to the definitions that Continued... pop up on an iPad, our interactions with words are inseparable from technologies of reference. Some of these technologies are wired directly into our brains: many of the world’s oldest surviving “texts” circulated for hundreds of years before being committed to writing. By encoding words within verses of poetry, arranging them in “memory palaces,” and applying other mnemon- ic techniques, we can achieve fantastic feats of memory. Writing, however, makes it possible to see words in different ways. Through writing, we can see the way that words used to sound long ago, enabling etymological inquiries into their origins. With lists, words may be arranged and then rearranged to suit different purposes. New questions become possible: Why, for example, should the word ant come after aardvark, chicken before egg, or, for that mat- ter, angel before God? And who would be willing to spend his or her life copy- ing and recopying these lists of words? Writing requires time, concentration, and lots of paper—these are not always easy to come by. As technologies of print spread throughout the world, ordinary people for first time could possess their own dictionaries, authors could compile them for potentially millions of users, and those users could consult them in an infinite variety of situations. What words should and should not be included in a dictionary? Who gets to decide what a word means? What kinds of communities emerge from these texts?

In this course, we will look at how words, objects, and ideas are defined and get equated across cultures, languages, and time. We will uncover the structures that make dictionaries and other genres of lexicography legible to users. We will question the social structures that underwrite a lexicographer’s authority. Mostly, though, we will get our hands dirty practicing different methods of lexicography. Readings will be on topics like cognition, memory, the history of writing, and biographies of those “harmless drudges” involved with compiling dictionaries and other lexicographical works. Students will have the choice of completing different of assignments on such topics as mnemonic techniques, vocabularies in verse, using Google Books to find early instances of terms, and designing the perfect dictionary entry. By reading, discussing, and experimenting with a wide range of genres, students will develop a broad familiarity with the history and practice of lexicography.

No prerequisite coursework or experience with lexicography is expected prior to the start of the course.

199 UB Freshman Seminar, T Th, 9:30-10:50, Reg. No. 23451 Professor James Holstun: Iraq and the American War

“Iraq and the American War” will ask what Iraqi and American culture can tell us about Iraq—before, during, and after the American War. It’s a highly controversial subject matter, of course. But it’s also one that many Americans are already beginning to forget. I think it’s a little soon for that. This is tough stuff, and our discussions may turn passionate, but we’ll be discussing our texts, not shaking our firsts. In this course, we’ll consider many perspectives, including Iraqis of different ethnic groups, faiths, and political persuasions, and pro- and anti-war Americans. We’ll consider a wide variety of genres: novels, histories, oral narratives, fictional films, documentaries, leaked atrocity videos and photo- graphs, political speeches, and poetry.

We’ll talk about twentieth-century Iraqi history, including Haifa Zangana’s passionate feminist history, City of Widows: An Iraqi Woman’s Account of War and Resistance. We’ll talk about the 2500-year histo- ry of Jews in Mesopotamia. We’ll read a novella by Shimon Ballas about the expulsion/emigration of Iraqi Jews, Betool Khedairi’s, Absent (2004), about a teen-aged girl living in Baghdad Continued... with her aunt and uncle during the U.S. sanctions regime, and selections from Riverbend, a wartime blog by another Iraqi teenager, and from Nuha al-Radi’s Baghdad Diaries (2003), about an Iraqi artist living through the First Gulf War and dying during the second—of a war-related cancer, she thought. We’ll read Shakir Mustafa’s anthology, Contemporary Iraqi Fiction (2008), and Sinan Antoon’s The Corpse Washer. We’ll see documentary films, including Wik- ileaks’ Collateral Murder and Molly Bingham and Steve Con- nor’s Meeting Resistance. And we’ll read oral histories from Mark Kukis’s Voices from Iraq.

Turning to the American side, we’ll read The Long Walk (2012), by Western New Yorker Brian Castner, about his work as a bomb disposal technician in Iraq and his struggles with trau- matic brain injury after returning home, and Redeployment, Phil Klay’s prize-winning collection of stories on US Marines in Iraq; We’ll read lots of oral histories by American soldiers and marines, including Daniel Somers’ suicide note and analysis of the Iraq War. We’ll read Falcons on the Floor, an experimental fiction about two Iraqi boys fleeing the Battle of Fallujah, by Justin Sirois and Haneen Alshujairy.

We’ll conclude the semester by reading the late Colonel Travis Patriquin’s essay on the insurgency in Tal Afar, Iraq, and asking the question, “Where did ISIS come from, and what role, if any, did the US have in its emergence?”

Students will write twice-week informal essays (five minutes’ or so), a five-page paper at mid- semester, and a ten-page expansion of that paper at the end of the semester. Please contact me if you’d like to talk more about the course: [email protected].

199 UB Freshman Seminar, MWF, 12:00-12:50, Reg. No. 23449 Professor Stacy Hubbard: Buffalo Poetry and Poets

The number of major poets who have lived, worked and written poetry in Buffalo is amazing. What is it about Buffalo’s history, environs and cultural scene that has helped to produce or support such richly varied poetic practices and experiments, including Black Mountain poetry, LANGUAGE poetry, electronic poetry, feminist poetry, Spoken Word and others? In this course, we’ll explore the city of Buffalo as a poetry incubator and UB as a center of innovative practices in poetry production, scholarship and curatorship. We’ll sample the work of poets such as Charles Olson, Robert Creeley, John Logan, Ishmael Reed, Lucille Clifton, Carl Dennis, Susan Howe, Charles Bernstein, Judith Goldman and many others and we’ll visit the University Library’s Poetry Collection to examine manu- scripts, chapbooks and journals by Buffalo poets from various time periods.

We’ll also attend poetry readings & slams on campus and in various locations throughout the city; we’ll talk with some local poets and scholars of Buffalo poetry; and we’ll learn about vibrant centers of poetic activity such as the Just Buffalo Literary center downtown. No background in poetry study or poetry-writing is necessary for this class, just an interest in getting to know the literary culture of campus and city. Students will write close-reading essays & reflective and researched blogs, and will compile mini-anthologies of Buffalo poetry with researched introductions and notes.

199 UB Freshman Seminar, T Th, 11:00-12:20, Reg. No. 23452 Professor Cristanne Miller: Me? Language and the Self

“’Me?!’ Language and the SelF” explores ways that language—particularly figurative language such as metaphors—help construct our sense of who we are in relation to other groups and categories of people and in relation to social structures of value. Are you described or perceived as nurdy, cool, fat, thin, large, small, handsome, pretty, homely, black, brown, white, quick, slow? What do these categories mean? Who influences definitions? How does language of popularity, weight, race, ap- pearance, or other descriptive categories (whether essentializing or superficial) impact your life? Language can push us to think more inclusively about ourselves, others, and all things in the world, but it can also carry embedded assumptions that influence our perception without our consciousness or recognition. Through reading literature, journalism, advertisements, and any other kind of print that engages in description of people or human behavior, students in this class will become more sensitive to the politics of daily language use and the significance of nuance in communication; they will develop finer strategies for analyzing what they hear and read; and they will develop strategies for constructing (more) adequate forms of language use in response to important ideas of our time.

199 UB Freshman Seminar, Professor David Schmid: Watching Television TWO SECTIONS AVAILABLE: T Th 11:00-12:20 Reg. No. 25241 or T Th 2:00-3:20 Reg. No. 23453

This class explores the history and aesthetics of television genres from the beginning of commercial television broadcasting in the post-World War II United States to the present day. The class will focus on genres such as drama, soap opera, comedy, news, documentary, reality television, children’s television, animation, prime time, and day time, paying due attention to the beginnings of these genres, their maturation and development, and the reasons for their eventual decline or remarkable persistence. Along the way, we will discuss who watches television and why, how television shapes our view of the world and of each other, how television provides a win- dow on a society’s values, and how and why those values change over time. Through watching and discussing examples of television genres, as well as through reading histories of the medium and both popular and academic discourses about television, students in this class will become more sensitive to the formal and historical nuances of a medium they have probably taken for granted. Students will also develop strategies for analyzing what they hear and read; and develop ways of understanding how popular culture both reflects and influences our opinions about a wide range of subjects, including race, gender, class, disability, social mobility, and Americanness.

Course Requirements:

 Attend class regularly and participate in class discussion.  “Reflections”: brief daily or weekly assignments, usually a short paragraph (150-200 words) reflecting on some aspect of the reading—what interests you, puzzles you, surprises you, or makes you think.  Two 2-page essays, on topics chosen by you, related to course reading during the first half of the semester.  8-10-page research essay on some aspect of course reading and discussion. 199 UB Freshman Seminar, MWF, 10:00-10:50, Reg. No. 23454 Professor William Solomon: Hollywood and American Lit

“Hollywood and American Literature” examines the impact of motion pictures on narrative fiction and lyric poetry in this country through much of the twentieth century. Like the mass of Americans in these years, writers often fell in love with the movies; but just as consistently they expressed their hostility toward their new cultural rival. Moreover, as the sound era in film got underway, increasing numbers of American writers looked to the film industry both as a means of supplementing their incomes and as an opportunity to adapt their craft to an exciting new medium. As a logical consequence of this new experience, stories and poems focused on either the making or the watching of movies began to appear in print. This trend led to the gradual development of a literary sub-genre--the Hollywood novel--in which actors, directors, producers and spectators frequently took center stage as the main characters. In this course, we will read and analyze a representative selection of twentieth-century literary materials that have addressed the psychological and sociopolitical repercussions of the growth of the cinema in this country. This course might also be of particular interest to students interested in the historical dialogue between independent and mainstream or studio film production from the silent period to the 1960s.

Course Prerequisites: None

199 UB Freshman Seminar, Reg. No. 23450 Professor Arabella Lyon: Real Life: Telling True Stories through Creative Non-Fiction

This class teaches students how to write compelling stories drawn from real life using the form known as “creative nonfiction.” The essence of creative nonfiction is all in its name – factual stories (“non-fiction,”) written stylishly and well (or “creatively”). Creative nonfiction is especially known as a vehicle for memoirs or personal essays, but this wide-ranging term also includes a diverse number of styles that include travel writing, popular science, investigative reporting, autobiography, politi- cal opinion, magazine journalism, war writing, sports writing, current affairs, and popular science. The opportunities are endless and creativity is key.

This is a “workshop” seminar which means that students will practice their writing skills in class, developing their art by discussing their writing with their classmates and by guided readings through essays by practitioners in the field that express the breadth and possibilities of the form.

The first few weeks of the class will be made up of writing exercises and discussion of general principles and ideas such as: finding and structuring a story, generating plot, developing scenes, writing characters, the ethics of non-fiction and researching a topic. As the weeks go by progresses, students will select a topic for their own writing and work on it for the rest of the semester. By the end of the semester, students will have begun to explore their own abilities as writers and developed an insight into the craft and discipline of nonfiction, as well as identifying the importance of making informed, insightful and supportive critiques of one another’s work.

Along with short readings we will be studying Mark Kramer and Wendy Call’s Telling True Stories: A Nonfiction Writer’s Guide from the Neiman Foundation at Harvard University and Anne Fadiman’s The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures. 193 Fundamentals of Journalism Andrew Galarneau W (eve) 7:00 - 9:40 Reg. No. 19629

This course is a gateway into the Journalism Certificate program and teaches students to research, report and write news and feature stories for print, broadcast and the web. It also provides an overview of American journalism standards and an introduction to American media and press law.

Students learn to conduct interviews, use quotes, and write in Associated Press style. They also learn the importance of accuracy, integrity and deadlines. Students analyze the merit and structure of good (and bad) news stories and focus on how journalists tell stories differently in print, radio, TV and on the web.

Students will have in-class quizzes and take-home writing exercises, designed to help them master the fundamentals of news writing. Those include two stories that students will take from start to finish: shaping a story idea, identifying sources and interviewing them, crafting the material into final written form. In addition to a textbook, students will read selected stories in class pertinent to class discussions.

This course is a Pre-requisite to the Journalism Certificate Program.

207 Intro to Writing Poetry/Fiction 207 Intro to Writing Poetry/Fiction Joshua Flaccavento Claire Nashar MW (eve) 7:00 - 8:20 MW 5:00 - 6:20 Reg. No. 19795 CL2 Course Reg. No. 20230 CL2 Course

Vladimir Nabokov once reflected that “a writer should have the precision of a poet and the imagination of a scientist.” This introductory course is specifically designed for beginning writers who would like to take the first steps towards exploring the craft of poetry and fiction. Students will be introduced to the fundamental vocabulary and basic techniques of each genre. Throughout the semester, the class will also be presented with a diverse group of readings to study and emulate in order to kindle our own imaginative strategies. No prior writing experience is necessary.

Through a series of linked exercises and related readings, ENG 207 will introduce students to fundamental elements of the craft of writing poetry and fiction. We will study differing modes of narration (the benefits of using a 1st person or a 3rd person narrator when telling a story, or how an unreliable narrator is useful in the creation of plot). We will examine character development (why both “round” and “flat” characters are essential to any story), as well as narrative voice (creating “tone” and “mood” through description and exposition), and think about “minimal” and “maximal” plot developments. We will consider the differences between closed and open forms of poetry. The use of sound and rhythm. We will try our hand at figurative language and consider how imagery is conveyed through our choice of words. We will study prosody and the practice of the line.

Selected readings will expose you to a variety of poetic forms, fictional styles and narrative models. Assigned exercises will give you the space to practice and experiment with unfamiliar forms. Students will also be given the opportunity to meet with visiting poets and fiction writers at Poetics Plus and Exhibit X readings on campus and in downtown Buffalo.

It may come as no surprise that Nabokov also noted that he has “rewritten—often several times—every word I have ever published.” This introductory course is designed to be the first step on the long journey of literary practice.

*This course counts toward the English major or minor requirements, as well as for the pre-requisite for the Creative Writing Certificate. 209 Writing About Science 221 World Literature Professor Elizabeth Mazzolini Professor Walter Hakala MWF 10:00 - 10:50 MWF 12:00 - 12:50 ! Reg. No. 23986 CL2 Course Reg. No. 21033 SE UR CO Romance Traditions in Asia W NE This course will introduce students to narratives of In this class we will explore how science moves beyond romance that span Asia’s wide variety of religious, the lab to educate, enlighten, provoke and inspire literary, theatrical, and cinematic traditions. “Texts” nonscientists. Discoveries and developments in may include English translations of a Sanskrit drama, a scientific fields as varying as environmental science, Sufi mystical text, tales from The Arabian Nights, early neurobiology, space exploration, and artificial Japanese and Chinese novels, intelligence, all have implications for how we relate to recent Bollywood cinema, nature and to technology, how we eat and live and shop Korean television melodra- and vote and move through the world. They can also be mas, and recent examples of extremely fun to read about. We will read widely in the worldwide Harlequin contemporary science writing, on such topics as the Romance phenomenon. The ethics of comparing the human mind to a computer; written component comprises what the world’s largest tumor tells us about race in two short papers and a America; how the drug LSD affects personal identity; cumulative exam. whether or not cancer might be contagious; and many more thought provoking topics, in essays that could be There are no prerequisites for this class and all course mistaken for great literature. materials are in English.

**Fulfills a 200-level course requirement for Asian Writers will likely include Oliver Sacks, Rebecca Studies and English majors and minors.** Skloot, David Quammen, Jaron Lanier, Jennifer Ouellette, and many others. Inspired by our engagement with contemporary science writing, students will make their own forays into this stimulat- 225 Medieval English Literature ing and socially relevant genre, by developing Professor Randy Schiff narratives and essays on scientific topics of their MWF 10:00 - 10:50 choosing that consider science’s relation to broader Reg. No. 23425 cultural and social issues. Medieval English Literature will be a literary historical We will move through the research, drafting and survey of medieval Britain, moving us from the Old revising processes. Along the way, students will learn English period to the late-medieval era. While our to be better writers, and learn things about science and course readings will be restricted to texts in English, our about writing that they might not have expected were exploration of the multilingual history of Britain will there to be learned. include translations from Old English (e.g., Beowulf), Latin (e.g., The History of the Kings of Britain), Old French (e.g., Marie de France’s lais), and Welsh (e.g., the Mabinogion); we will also read some works in Middle English (e.g., The Canterbury Tales). Our course will engage with key monuments of Arthurian literature (e.g., Sir Gawain and the Green Knight); political poems and documents (Piers Plowman; rebel letters); works of female mysticism (Margery Kempe); and a medieval play (Mankind). All students will be required to take two exams; to present on a passage from a course text; and to complete two papers (of 4-6 and of 7-10 pages). 232 British Writers 2 Barrett and Robert Browning, Thomas Carlyle, Eliza- Paul Beattie beth Gaskell, Lord Tennyson, George Eliot, Christina Rosssetti, Charles Darwin, Robert Louis Stevenson, Os- MWF 9:00 - 9:50 car Wilde, Joseph Conrad, T. S. Eliot, D. H. Lawrence, Reg. No. 23426 Virginia Woolf, George Orwell, and more. Soar with kingfishers and angels. Scream alongside demigods and vampires. Visit exoticized vistas of Eden- ic splendor drawn from mythology and the world around 241 American Writers 1 us. Tempt fate by experimenting with things with which Professor Robert Daly mere mortals were not meant to mess—moral monsters, T Th 12:30 - 1:50 mephitic mixtures, and morbid misery. Tackle society’s Reg. No. 22359 deepest crises of poverty, misogyny, racism, and imperi- al overreach. Live and love alongside peasants and roy- This course is open to both majors and nonmajors and alty, humans and monsters. Finally, take all of that and does not presume any prior knowledge of its content. set it on its head by examining the very core of how we We shall read mostly short selections from classic th th define the natural and supernatural and our own earthly American literature, from the 17 through the 19 centu- limitations. We will delve into all of this—and more!— ries, to see how it can help us to survive and thrive here through reading a variety of British literature produced and now. These are the writers everyone has read, or from roughly 1789 to the present. The range of cultural claims to have read, or wishes they had read: Mary developments and changes reflected in British writing Rowlandson, Susanna Rowson, Benjamin Franklin, during this period is unparalleled in scope. Luckily, we Washington Irving, Edgar Allan Poe, Ralph Waldo Em- will dive manageably into this alternatingly earthly and erson, Nathaniel Hawthorne, Frederick Douglass, Henry unearthly realm through a series of engrossing literary David Thoreau, and Emily Dickinson among them. We expeditions. shall read them selectively, slowly, and carefully, in de- tail and in context, to see why they have lasted and what We begin with the work of the Romantic writers, in they can tell us now about the art of making sense of which many of the key intellectual, philosophical, and literature and life in America. literary ideas influencing the next few centuries are es- tablished. We will read works ranging from poetry—by Each student is expected to participate in class discus- turns erotic/Gothic and idyllic/pastoral—and the chilling sions and to write two preliminary examinations, a take- tale of Frankenstein. The second phase of the course home final, and a research essay on topic of his or her takes us to the Victorian Era, for a continuation of and a own choosing. reaction to the revolutionary ideas of past, from scien- tific discoveries about humanity’s place in the world— Darwin as literature?!—to chilling tales of science gone 242 American Writers 2 awry in the form of Eliot’s The Lifted Veil and Steven- Andrew Dorkin son’s Strange Case of Dr Jekyll and Mr Hyde. Finally, T Th 9:30 - 10:50 we will see how British literature shifted as the twentieth Reg. No. 24879 century dawned and brought an entirely new host of con- cerns about the natural, supernatural and everything in AMERICAN VOICES between, including wacky new takes on the very nature This American literature survey, covering the aftermath and purpose of literature—and perhaps our very exist- of the American Civil War through the aftermath of ence—in Beckett’s Waiting for Godot and Stoppard’s World War II, will introduce you to the some of the Arcadia. th th loudest and most famous voices of the 19 and 20 cen- Ultimately, you will gain a keen understanding of the turies, as well as some quieter and less familiar, but no major social and cultural forces, as well as the exciting, less powerful, ones. Although we will encounter many protean literary movements, at work during these dy- American “classics” along the way—including Walt namic periods of British literature. You will read poetry, Whitman’s “Song of Myself,” Mark Twain’s Huckle- short fiction, novels, and critical prose from authors such berry Finn, T.S. Eliot’s The Waste Land, and Zora as Anna Barbauld, William Blake, Charlotte Smith, Neale Hurston’s Their Eyes Were Watching God—the Samuel Taylor Coleridge, William Wordsworth, Lord America under study in this class is characterized by natives, immigrants, and expatriates; Byron, John Keats, Mary and Percy Shelley, Elizabeth Continued... northerners and southerners, easterners and westerners; our world. What ways of seeing does science fiction feminists and civil rights activists; gay and straight; open up to us as readers? This course covers a wide vari- black, white, Hispanic, and Asian; wealthy, poor, and ety of future visions, from the controlling rules of Harlan everything in between. Ellison’s “Repent, Harlequin!” to the chaos and action Recalling the journeys of countless immigrants, we will of Neal Stephenson’s Snow Crash. We’ll look at worlds begin with the poem inscribed (since 1903) on the base that have been ravished by war and climate destruction, of the Statue of Liberty—“Give me your tired, your like Philip K. Dick’s classic Do Androids Dream of Electric Sheep?, and dream worlds of equality and bal- poor / Your huddled masses yearning to breathe free”— ance, like Marge Piercy’s Woman on the Edge of Time. “The New Colossus” by the Jewish-American poet Em- Along the way, we’ll talk about the rich history of the ma Lazarus. After the first week’s introductions, the genre and discuss its role in various forms of media, in- course will move chronologically through the post-Civil cluding television, film, and video games. The course War “Renaissance” of Whitman, Twain, and Emily requires no previous experience with science fiction, Dickinson; to Realism and Naturalism movements at the only interest in the topic. It’s open to majors and non- end of the 1800s; to Modernism and the Harlem Renais- majors alike. Requirements include regular participation in class discussion, quizzes, short reading responses and sance in the early 1900s through the mid-century poetry other informal writing activities, and two formal papers. of Allen Ginsberg and Sylvia Plath. Our final reading will take an unconventional look at the horrors of World War II through Art Spiegelman’s Maus, an imaginative rendering of his father’s survival of the Holocaust, in the form of a “long comic book.” Other writers featured in this class will likely include Stephen Crane, Paul Lau- rence Dunbar, Frances Harper, T.S. Eliot, Gertrude Stein, Mina Loy, Henry James, Langston Hughes, and William Faulkner.

254 Science Fiction Jennifer Dickson 256 Film MWF 11:00 - 11:50 Professor Alan Spiegel Reg. No. 21034 T Th 2:00 - 3:20 Reg. No. 22835 The Future The American Experience

We are living in someone else’s science fictional future; A course open to all majors, a background in film not our lives are connected by filaments of light and required. wireless signals that instantaneously bring us news of flooded subways and viruses, advertisements for room A survey of national character and identity in terms of cleaning robots and talking houses, and messages from some of the most exciting and confrontational American friends and family. Our TV shows and video games are movies: Westerns (Red River), Gangsters (Bonnie and filled with our own future visions: crisply dressed Clyde), Thrillers (Psycho), social and political problem zombie survivors on extended camping trips, time films - Left (The Grapes of Wrath), Right (The Foun- travelling cops that flit from fantastic megacities to our tainhead), and Center (Mr. Smith goes to Washington); own cities, well-armed lone warriors trekking nuclear films cynical (The Candidate, I was a fugitive from a wastelands. Chain Gang), and hopeful (Sullivan’s Travles, and 12 Angry Men): a lively and thoughtful time should be had Science fiction has a long history with this kind of sto- by all. ry: alternate worlds that offer a warning or a promise about our own future. In this course, we’ll ask what sci- Quizzes, journal, and final exam. There is no overlap ence fictional futures—both the wonderful and the terri- between this course and English 356 (i.e., students may fying—can tell us about ourselves, our societies, and register for both without fear of duplication. 258 Mysteries 263 Environmentalist Writings Professor Susan Eilenberg Joseph Hall T Th 11:00 - 12:20 MWF 9:00 - 9:50 Reg. No. 20232 Reg. No. 23427

To have a mystery novel you need at a minimum a dead Environmentalist Writings: Who Killed or menaced body and a question about how, why, and at whose hand it came to be so. There exist innumerable the World? mysteries that focus upon these things: the wounds suggestive of torture, the gory and psychopathic “Who Killed the World?” Splendid, Mad Max: Fury processes of murder, and the unpleasant and dangerous Road (2015) route the detective follows in uncovering the gruesome “We have still the broken Materials of that first World, facts. and walk upon its Ruines” Thomas Burnet, The Sacred Those mysteries we shall Theory of the Earth (1684) mostly avoid. In this class we shall read outwards The earth is poisoned, cities flood, the earth cracks from drought, species are extinguished, islands swallowed, and from the mystery novel st that presents itself as a nature dies. Is this a 21 century vision of climate change diversion, as amusing or a version of the biblical flood? Across literatures, na- puzzle, as game of wit, an ture has been celebrated, killed, and brought back to life appreciation of civilized in a multitude of ways. ideals--an occasion for the production of wit and In this class we will perform a broad survey of environ- the display of erudition or mental literature while considering the following ques- insight, a form of drawing tions: What do we include or exclude from definitions of room comedy or even the natural? If humans have erased, harmed, or “killed” (sometimes) romance. Our nature, what do we imagine we have lost? And how do detectives will for the most part not be police officers we compensate for this loss? How different is this nature but instead outsiders-- drunks, addicts, precocious chil- and its death from how we’ve always imagined nature dren, debutantes, former suspects, idle aristocrats, idler and its ruin? And what does it mean to ethically represent and respond to local and global environmental crises? academics.

What is it about the mystery novel that allows it to turn We will explore ways of thinking about nature, natural- from the grossness and tedium of murder and convic- disaster, ruin, and recovery across time and media, in- tion? We shall read several novels and a couple of short cluding classics of social justice environmentalism such stories to seek clues to this mystery. as Silent Spring and The Book of the Dead, biblical Edens, “green” techno-utopias, salvage punk, and Swamp Thing. African American Literature legal force, but as Joseph Slaughter notes, they are “a 271 notoriously feeble legal regime” (24). In fact, Amatrya Professor Jang Wook Huh Sen stresses their lack of legal standing, arguing that MWF 1:00 - 1:50 their (legal) existence is less important than their “really Reg. No. 24186 strong ethical pronouncements as to what should be done” (357). That is, the human rights may have more This lecture course is an introductory survey of African ethical force than legal force, but this raises interesting American literature. Spanning the period from the turn question about the law itself. of the twentieth century to the present, we will consider a range of work in a variety of genres, including fiction, In this course, we examine human rights as represented poetry, drama, autobiography, and nonfiction prose. We in the law and in literature. We will consider the will re-conceptualize the African-American literary and importance of human rights law in relationship to the cultural tradition by focusing on its aesthetic importance of literary and rhetorical or political contributions, political aspirations, and interactions with representations of human rights claims. The course will diverse racial and ethnic groups both within and beyond address a series of questions that will make us better U.S. borders. Tracing African-American literary history readers of human rights law, advocacy, and representa- in local and global contexts, we will explore how black tion. We will consider: Who can speak and advocate for writers engage with the dynamics of racial formation, whom? How are human rights defined in law, literature, issues of diaspora, and changing notions of freedom. and film? How are gender, race, nationality, class, age We will also examine the influence of visual culture depicted within popular culture and legal/political (such as paintings, photography, and film) on African documents? How is the subject of human rights violation American literature, and vice versa. constructed, and for what purpose to whose advantage? To approach these questions historically, the course will begin with Sophocles’ drama Antigone and end with Anne Fadiman’s The Spir- it Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures and/or Dave Egger’s biographical account of Zeitoun, the biography of a Syrian- American during Katrina. Main authors may include W. E. B. Du Bois, Claude Along the way we will interpret documentary film, the McKay, James Baldwin, Lorraine Hansberry, and Toni Declaration of Independence, Morrison. This course is open to students from all and a court decision or two. majors. I will explain key terms, concepts, and contexts. In addition to be being evaluated No prerequisites are required. through participation, quizzes, presentations, and short reading responses, you will write two 276 Literature and Law four to five-page papers that Professor Arabella Lyon examine at least one of our T Th 2:00 - 3:20 longer readings. Reg. No. 23428 HUMAN RIGHTS IN LITERATURE AND THE LAW

Open any good newspaper, and human rights stories ______Slaughter, Joseph R. Human Rights, Inc: The World Novel, abound. Human rights talk has emerged as a powerful Narrative Form, and International Law. New York: Fordham tool used in the construction of citizenships, histories, UP, 2007. nation states, geopolitical boundaries, and human duty. Sen, Amatrya. The Idea of Justice. Cambridge, Massachusetts: Often human rights are considered laws or as having Belknap P of Harvard UP, 2009. words, by attending events students will learn how vital Literature and Law 276 the arts are to the creation and continuation of commu- Katrin Rowan nity structures, as well as refine their own participation T Th 2:00 - 3:20 as audience/ listener/ viewer in ways that are generative Reg. No. 22361 and challenging.

What stories can law tell? How can story-making *PLEASE NOTE: The class will meet at different shape our perceptions of legal systems? This course times depending on the performances and transportation will examine how legal and literary writing, as mutual- will be provided to various events. ly-embedded modes of expression, employ language and narrative structure to address fundamental 281 Special Topics: Literature & Medicine questions of justice, equity, and fairness. In consider- Jesse Miller ing these questions ourselves, we will evaluate MWF 11:00 - 11:50 depictions of law in a variety of genres, including classical tragedy (Sophocles’ Antigone), the novel Reg. No. 23011 (Franz Kafka’s The Trial), short fiction (Susan The relationships between literature and medicine are Glaspell’s “A Jury of Her Peers”), and film (Sidney many, varied, and at least as old as the Greeks. Above Lumet’s Twelve Angry Men). We will simultaneously the door of the ancient Library at Thebes an inscription analyze landmark judicial decisions and other legal read, “Medicine for the Soul” and at the heart of the documents to ask how rhetoric and philosopher Aristotle’s description of the effects of storytelling enable the making and tragic drama on its audience, we find a medical term, interpretation of law. Our discussions catharsis. Even today, in the context of contemporary will consider topics of social justice, Western medicine, the experience of illness is shaped racial and gender equity, punishment, around multiple acts of storytelling, as the patient and censorship (among others) to ex- searches for the words to voice their pain and the doctor plore the tension between literature attempts to frame a diagnosis. And from TV medical rich in multiple meanings and legal dramas like Scrubs and House M.D. to works of con- writing’s objective of certainty. This temporary poetry and fiction we find efforts to capture course welcomes students interested this drama and complexity, the stakes of which are quite in literature, rhetoric, legal study, and literally life and death. criminal justice. In this course, we will read texts by, for, and about doctors and patients in order to investigate the relations between literature and medicine. We will also 281 Special Topics: Arts One collaborate with the Arts in Health Initiative to explore Professor Hershini Young how literature and the arts are being used to improve the Wednesdays (eve) 7:00 - 9:40 experience of patients in Buffalo hospitals. As we range Reg. No. 25030 from the ancient philosophical treatises of Hippocrates, to the work of poet-physician William Carlos Williams,

ENGLISH 281: ARTS ONE is from the detective-like case studies of doctors to the SE! UR an experimental course designed autobiographical testimonies of the ill, we will ask: How CO to introduce students to perform- EW do doctors, patients, and authors approach the complex N ers and artists in the wider Buf- ethical conundrums, emotional tangles, and difficulties falo community. Instead of be- of representation that so often surround illness? ing bound to the classroom, for the most part students will attend an exciting array of events utilizing different This course is designed for students who wish to pursue artistic mediums such as dance, theater, music and visu- a career in the health professions as well as for anyone al art. In this way, the class hopes to expose students to with a personal interest in the way literature shapes our Buffalo’s vibrant artistic and performance scene, teach- understanding and experience of health and illness. As a ing them not only about the history of institutions such seminar, a gathering for informed conversation, this as the Buffalo Philharmonic or UJIMA Theater Compa- course’s success depends heavily on your commitment ny, the longest established acting company in Buffalo to careful preparation, considerate and effective discus- sion, and openness to new ideas. but also how to become better audiences. In other Continued... However, it requires no previous knowledge of the 301 Criticism material, only interest in it; it is designed for both Professor Randy Schiff majors and non-majors. In addition to regular MWF 12:00 - 12:50 attendance, careful reading, and active participation in discussion, you will be required to maintain a weekly Reg. No. 22368 reading journal, turn in three 4-6 page papers, and Our course will analyze literary theory on dual levels, participate in a group project. tracking the broader history of literary criticism, even as we engage closely with key landmarks of critical theory. Rather than being organized chronologically, the syllabus 301 Criticism will follow conceptual threads (Aesthetics and Ethics; Professor Ming Qian Ma Formalism and Function; Nature and Technology; T Th 2:00 - 3:20 Canonicity and Deconstruction; and Nation and Empire). These organizing themes are not meant to stand as Reg. No. 18282 discrete zones, but to bleed into one another, allowing us to sustain a general discussion on aesthetics informed by Designed as a survey class, English 301 is intended to various schools of thought. As it would be impossible to introduce students to literary criticism of the cover all literary critical schools in a single course, we 20th-Century, with an emphasis on the post-1960s period. will prioritize breadth of coverage over extended engage- Chronological in approach, it will study the ment with individual schools of thought, in order best to representative texts of various schools of criticism, develop both a sense of the history of literary criticism focusing on the basic terms, concepts, and and of the range of powerful tools and concepts it methodologies. The goals of this course are 1) to learn provides. Opportunity for extended engagement with and understand the principles and paradigms of each critical approaches is enabled by the written component kind of criticism; 2) to become critically aware of not of the course, with term papers offering the option for only the ramifications but also the limitations of literary either comparative or intensive analyses. All students theory; 3) to rethink and question such notions as will be required to take two exams; make one brief “innocent reading” or “purely spontaneous response”; formal presentation on a critical concept; and complete and 4) to learn a range of interpretative methods. two papers (of 4-6 and 8-10 pages). Class requirements include regular attendance, active participation in class discussions, quizzes, response papers to readings, and a 6-8 page term paper at end of 309 Shakespeare, Early Plays the course. Professor Carla Mazzio The primary texts for the course are: T Th 3:30 - 4:50 Literary Theory: An Anthology, 2nd. Edition. Edited by Reg. No. 23529 Julie Rivkin and Michael Ryan, Blackwell, 2004. (ISBN: 1-4051-0696-4) This course will focus on Shakespeare's comedies, his- Billy Budd and Other Tales, by Herman Melville, with a tories, and selected tragedies, introducing students to new introduction by Joyce Carlos Oates. Signet Shakespeare's language, dramatic techniques, historical Classic, 1998. (ISBN: 0-451-52687-2) surround, relationship to Renaissance humanism (the (Supplementary reading materials in criticism will be poetry and drama of classical Rome in particular), and distributed when needed.) innovations as he moved from play to play. At the same time, we will also examine some central issues that traverse many plays and genres, including the status of error, itself a pivotal dramatic pre-occupation that we will trace out from The Comedy of Errors to Hamlet, the plays that open and close the course. So too, we will investigate Shakespeare's ongoing experiments in the domain of metamorphosis, and consider the status of the material object (props, bodies, costumes, monetary instruments, etc.) in numerous early plays. Other plays include Love's Labour's Lost, Richard III, Romeo and Juliet, A Midsummer Night's Dream, Continued... The Merchant of Venice, The Henriad, Much Ado 2016 marks the 400th anniversary of About Nothing, and Twelfth Night. Shakespeare’s death. During this year, “all the

This course satisfies an Early Literature requirement. world’s a stage” for commemorations of the Bard’s life and work. Here in Western New York, we will join the celebration with a year-long calendar of pub- lic humanities events, including local performances, conferences, tours, and exhibits, all centered around Will and the work he created.

Our libraries will offer their community spaces and show their collections for a number of events, including early Folio and Rare Book exhibits, the Milestones of Science exhibit, and a Shakespeare Read-A-Thon, The downtown Buffalo & Erie County Public Library will also host competitions, 310 Shakespeare, Late Plays festivals, and book-making sessions for lovers of Professor Susan Eilenberg Shakespeare from all T Th 2:00 - 3:20 “seven ages of man,” Reg. No. 21041 infancy to old age. All This course will be devoted to a reading of are welcome! Shakespeare’s later plays, including the mass of great tragedies (Hamlet, Lear, Othello) and two or possibly Other events throughout three of the romances (The Winter’s Tale, The Tempest). the year will include

All his life Shakespeare has been interested in the space over a dozen theatrical of impossibility made possible: it has been the space of performances, the UB playful wit, flaunted theatricality, amusing or outrageous Humanities Institute paradox. As the playwright develops this space of October 13-14 academic paradox sheds its boundaries and grows ever more conference–“Object and uncanny. The characters of the late tragedies and Adaptation: The romances face what cannot be faced, bear what cannot Worlds of Shakespeare be borne--and as one character cries to another, “Thy Design by : life’s a miracle,” we meditate upon the tragic lie he tells and Cervantes”–exhibits, John Bono/Renee Ruffino. that is at the same time a tragic truth. It is this talks, screenings, tours, disbelieved fiction of goodness--born of madness and concerts, competitions, and much, much more. delusion and chicanery and revenge but intimating Most events are free and open to the public, something else, pointing mysteriously toward what King although a few will require a nominal entrance fee. Lear calls the “chance which does redeem all sorrows / That ever I have felt,” upon which the tragedies We hope this year will be a region-wide brood. It is this fiction too upon which the romances celebration. If your school, organization, or group build their fictions of that which lies on the other side of is interested in contributing to the calendar, please loss, out beyond grief--not resurrection, perhaps, but that contact us! which may be just as welcome. All this will be our matter. https://buffalobard.wordpress.com/ I will ask each student to write a midterm exam, a hand- ful of brief response papers, a longer graded paper, and a Barbara Bono, Organizer final exam. There will be occasional quizzes. Intelli- “Bvffalo Bard 2016: 400 Years Since Shakespeare” gent participation will be encouraged; attendance will be Associate Professor, English mandatory. SUNY at Buffalo This course satisfies an Early Literature requirement. [email protected] 331 Studies in Irish Literature 342 Studies in U.S. Latino/a Lit Professor Damian Keane Professor Carrie Tirado-Bramen MWF 10:00 - 10:50 MWF 2:00 - 2:50 Reg. No. 23455 Reg. No. 25186 War—Migration—Borders: Latin American IRISH WRITING AND CULTURE, 1922–1972 Literature & US Latino/a Literature in Comparative Perspective This course will focus on Irish writing and culture produced between 1922 and 1972, the fifty years roughly This course will look at Latina/o and Latin American litera- between the end of one period of intense violence and the ture in comparative perspective, centered on three key events: beginning of another. In the aftermath of the outpouring 1) the legacy of the Central American violence; 2) Migration/ of literary energy that accompanied the political immigration from the Americas; 3 border tensions between struggles for Irish independence in the first decades of the US and Latin America. How are these three themes—war, the twentieth century, Irish writing has been convention- migration, borders—depicted by US Latinos and Latin Amer- ican writers and artists? What does each bring to the depic- ally been held to have diverged along two separate paths: tion of trans-american crisis, violence and culture? We will one that continues with innovatively modernist and inter- read a range of genres, including poetry, plays, journalism, nationalist forms; and another that rejects experiment and novels and testimonios. instead falls into a stagnant and an insular naturalism. Through our reading for this course, we will question this Mario Payeras, Days of the Jungle: The Testimony of a Gua- temalan Guerrillero, 1972-1976 sweeping characterization of Irish writing after 1922, Rigoberta Menchu, I, Rigoberta Menchu: An Indian Woman with special attention to the kinds of social critique that in Guatemala are enabled – and forestalled – by each of these broad Demetria Martinez, Mother Tongue modes of writing. The readings for the course will be Oscar Martínez, The Beast: Riding the Rails and Dodging the drawn from a wide variety of genre and media: prose Narcos fiction (novels and short stories), poetry, drama, Martin Espada, Poetry Like Bread, [expanded edition] autobiography, radio scripts, political pamphlets, and Quiara Alegría Hudes, Water by the Spoonful (a play) sound recordings. Knowledge of Spanish is not necessary. Assignments: Two

essays, 8 short reading responses, regular attendance. Works for the course will be chosen from those by: Samuel Beckett, Mary Beckett, Brendan Behan, Sam This class also counts as a Domestic Diversity course for your Hanna Bell, Elizabeth Bowen, Austin Clarke, Padraic General Education Requirement. Fallon, John Hewitt, Aidan Higgins, James Joyce, Patrick Kavanagh, Molly Keane, Thomas Kinsella, Mary 346 Comparative Ethnic Lits Lavin, John McGahern, Michéal MacLiammóir, Michael Professor Jang Wook Huh McLaverty, Louis MacNeice, Ewart Milne, John MWF 3:00 - 3:50 Montague, Brian Moore, Flann O’Brien, Kate O’Brien, Reg. No. 23457 Sean O’Casey, Frank O’Connor, Sean O’Faoláin, Liam O’Flaherty, Blanaid Salkeld, Francis Stuart, and W.B. In 1890, the so-called “dean of American letters” Yeats. William Dean Howells declared, “There’s only one city that belongs to the whole country, and that’s New Requirements for the course will include: good York.” His metonymic presentation of New York attendance and active in-class participation; two or three acknowledges the multiethnic metropolis as cultural shorter papers (2–4 pages), a mid-term exercise, and a capital that catered to the national reading public’s final essay (10–12 pages). No necessary prior knowledge cosmopolitan taste at the turn of the century. But this of Irish literature or history is required. metaphor of New York as a national microcosm also extends the demographic margin of the nation into This course satisfies a Breadth of Literary Study emerging ghettoes and slums of migrant and immigrant requirement. populations. In this course, we will examine the ways in which racial and ethnic neighborhoods play a critical role in producing aesthetic forms such as realist fiction, urban sketches, and cross-racial romances from the late nineteenth century to the present. In mapping a narrative cartography of representing ethnic New Continued... York in literature, film, and photography, we will ex- William Bradford, Anne Bradstreet, Mary Rowlandson, plore the following topics: diverse modes of producing Phillis Wheatley, Susanna Rowson, Benjamin Franklin, race and ethnicity, cross-racial interactions and compar- Washington Irving, Edgar Allan Poe, Ralph Waldo Em- ative racialization, and the intersection of race and sex- erson, Nathaniel Hawthorne, Frederick Douglass, Henry uality. Main authors may include Jacob Riis, Langston David Thoreau, Emily Dickinson, Rebecca Harding Da- Hughes, Piri Thomas, Paule Marshall, and Elizabeth vis, and Zitkala-Sa all have parts in the story. Though Wong. This course is open to students from all majors there are many writers, the reading load will not be who are interested in literary forms, urban culture, heavy. The thinking and discussing load will be heavy, diaspora, immigrant history, and comparative race and since we shall focus on both analysis and synthesis. ethnicity. No prerequisites are required. Each student is expected to participate in class discus- This course satisfies a Breadth of Literary Study sions and to write two preliminary examinations, a take- Requirement. home final, and a research essay on topic of his or her own choosing.

This course satisfies an Early Literature Requirement.

353 Experimental Fiction Professor Dimitri Anastasopoulos 347 Visions of America (Early Period) Tuesdays 12:30 - 3:10 Professor Robert Daly Reg. No. 23459 T Th 3:30 - 4:50 Experimental fictions are said to challenge, resist, and Reg. No. 22942 undermine the conventions of traditional narratives— taking aim at the conditions of plot, character, and nar- This course is open to majors and non-majors alike and rative (among others) that have historically governed does not presume any prior acquaintance with its the genre. The exact nature of this challenge arises from material. For majors, it does fulfill the early period shifting sites of critique—so much so that, over time, requirement. We shall read classic American literature, experimental fictions have been loosely synonymous from the 17th through the 19th century (nothing from the th st with the “avant-garde” as well as the “postmodern.” 20 or 21 centuries), focusing what it meant in the We should remember, however, that certain texts from making of American culture and what it means for us the 19th century were as explosively radical for their now. We shall read selections, most of them quite time as any of the experiments of the 20th century. In- short, from many authors, and we shall explore their deed, we may come to see today’s experimental fictions connections and what they can tell us about the arts of as works that do not break with the past as much as making sense of both literature and life in America. they renew it. As Martin Heidegger wrote: “Experiment

In the autumn 2013 issue of New Literary History, begins with the laying down of a law as basis. To set Nancy Easterlin argues for adaptationist literary theory: up an experiment means to represent or conceive the “Everyday living is an interpretive process,” not just conditions under which a specific series of motions can “textual,” but “a fundamental life process” that we be made susceptible of being followed in its necessary “make special or elaborate in literary texts” and that progression, i.e. of being controlled in advance by cal- “literary studies . . . increase the efficacy of meaning- culation.” In this sense, an “experimental” is a well- making processes and the conscious awareness of structured system, and in our case, it’s the system of humans” by “engaging in communal interpretation.” In literary and fictional language that encompasses all fic- the winter 2012 issue of New Literary History, Charles tion. If we think of experimental and traditional fiction Altieri suggests that “seeing-in” to literature “affords from the perspective of science, we might say that—as the possibility of making more supple, more intricate, in Kuhn’s paradigm shifts—the fiction of the past pro- and more intense our repertories for engaging, under- duces experimental works by already incorporating all standing, and shaping experience in the world beyond of its exceptions into the system of fictional language.

the text.” So we shall discuss how selected works of This course has a few specific goals: first, to examine American literature can inform our own lives here and under what conditions experiments take now. Continued... place in/as fictional narratives in order to investigate the Popular Culture multiple registers of meaning associated with the experi- 356 mental; second, we will read a range of fictions that have Professor Alan Spiegel fallen under the rubric of experimental literature in order T Th 11:00 - 12:20 to determine the continuing usefulness of the term; and Reg. No. 19623 third, we’ll attend to the processes of experimental writ- ing which in a certain sense trouble and harrow the sys- This course will be a study of the world's most popular tem of fictional language. genre narratives: Westerns, Crime films, Horror, Sci-fi and Adventure Romance. A psychological probe into Students interested in the Creative Writing Certificate are the collective dreamlife of American men and women in encouraged to register for this course. terms of the nature, origins, and development of some of the most durable stories ever told. We'll discuss the writings of Freud, Jung, and Northrop Frye; and then Life Writing 354 examine a whole raft of popular novels and films less as Professor Arabella Lyon art and more as a species of myth, artifact, and T Th 12:30 - 1:50 dream-data; and in this manner, work our way through Reg. No. 23460 the fears, lusts and biases of the Republic from the mid-nineteenth century to the present. Life writing describes genres including biography, auto- biography, diaries, letters, travel writing, testimonies, Books include (probably) Tarzan of the Apes, The Day autoethnography, personal essays and, more recently, of the Locust, The Maltese Falcon, digital forms such as blogs and websites. Life writing is Double Indemnity, Dr. Jekyll and concerned with identity, memory, agency, and history; at Mr. Hyde, The Time Machine, and its core is the issue of who gets representation, who gets others; to tell the story. In this course, you will blog about your life as you read about other lives. Films: The Gunfighter, Scarface, Our reading may include autobiographies, diaries, mem- The Cat People, Invasion of the ories, maybe a novel (faction), and blogs. At the mo- Body Snatchers, The Lady from ment, I’m considering Maxine Hong Kingston’s magical Shanghai, and more.

-realist autobiography Woman Warrior, Dave Eggers’s

Katrina biography of a Syrian-American Zeitoun, Anne Fadiman’s The Spirit Catches You and You Fall Down: Students should A Hmong Child, Her American Doctors, and the Colli- be prepared to sion of Two Cultures, the autobiography of either Nobel read, see, and talk Peace Prize winner Rigoberta Menchú’s or Nobel Peace a lot, keep a Prize winner Malala Yousafzai, and yet to be decided journal, prepare short pieces and blogs (a few possibilities of the top of for quizzes, and my head): take a final. http://www.angryblackbitch.blogspot.com, http://www.jeremyblum.com/blog/; http://www.tuulavintage.com/2016/03/phangngabay/, http://blogs.wsj.com/washwire/

Here are directions for getting started: http://lorelle.wordpress.com/2009/04/08/example-of-a- perfect-personal-blog).

Course writing will consist of your weekly blog, one Storycorps-type interview (http://storycorps.org), one short critical paper, and a number of occasional assign- ments (peer reviews, quizzes, responses). Much of the writing on your blog will be life-writing generated by you. I will require a few topics, but the blog is yours to develop as you wish. My hope is that you will continue to write after the course. 361 Modern and Contemporary Poetry from critics including Jerome McGann, Bruno Latour, Professor Steve McCaffery and Franco Moretti. The second part of the course will T Th 12:30 - 1:50 look at the ways in which digital media and tools present Reg. No. 22374 new opportunities and challenges for reproducing pre-digital modernist works, including debates over Dada, Allen Ginsberg, the Harlem Renaissance, what parts of our vast modern literary heritage should be Marianne Moore, Futurism Mina Loy, Concrete Poetry, preserved and how these texts should be handled. In this these are the names and phenomena that students will unit, we will read modernist textual critics and editors encounter in this exhilarating excursion through the last such as Hans Walter Gabler, Christine Froula, and Robin 100 years of poetic creativity. Schulze. Students will also learn how to edit and anno- tate works digitally using free web tools (no technical The course explores the key poets, poems and poetic experience necessary), creating a micro-edition of a theories of perhaps the most exciting century of poem, short story, or image collection. The final unit of writing. Authors and topics covered include Race, the course will look forward to the influence of modern- Revolution, Poetry and War, Feminism and the body's ist forms and aesthetics on contemporary electronic relation to language. Imagism, Vorticism, Feminist literature, such as the works of William Poundstone and Poetics and Concrete Poetry. Among the movements Young-hae Chang Heavy Industries. we'll explore are Symbolism, Imagism, Italian and Russian Futurism, Dada, Objectivism, the Beats, the In addition to the micro-edition project, students will Harlem Renaissance, Projective Verse, the New post reading responses to the discussion board, deliver American Poetry of the 1960s, the New York School an in-class presentation, and write a final essay (8 and Language Poetry. Alongside texts to be studied, pages). In place of the final essay, students may be able analyzed and compared are relevant theoretical texts to pursue an equivalent critical media project in largely by poets themselves. The classes will be consultation with the instructor. enhanced by the occasional classroom visit by poets and scholars in the appropriate fields. 377 Mythology 364 Debates in Modernism Professor Diane Christian Nikolaus Wasmoen Mondays (eve) 7:00 - 9:40 T Th 3:30 - 4:50 Reg. No. 22575 Reg. No. 23461 To some extent, mythology is only the most ancient This class will reexamine modernist arts and letters history and biography. So far from being false or through the lens of contemporary digital media. The fabulous in the common sense, it contains only enduring and essential truth. Either time or rare wisdom writes it. period identified as modernist, roughly 1890–1950, in- cludes decisive advances in photography, cinema, radio, Henry David Thoreau A Week on the Concord television, and the mass-circulation press. Critics have and Merrimack Rivers 1848 argued that this period's prominent artistic -isms— Futurism, Imagism, Surrealism, Cubism, Vorticism, This class will consider myths of origin and sexual Formalism, Constructivism, and others—are largely the organization from all over the world, ancient and products of changes in public media. In what ways modern. Where and how did the world and we come to might the later emergence of digital media affect our be? A primary text will be Barbara Sproul’s Primal understanding of the form and content of pre-digital Myths which she organizes according to geographical modernist works? How does our digital equipment for location. We’ll also read Darwin’s The Origin of Species investigating and representing modernist works alter, or and The Descent of Man a sacred story (myth) of not alter, our interpretations of them? science. We’ll end with Jean Malaurie’s The Allée of the Whales. Malaurie, a living geomorphologist and In the first part of the course, we will discuss how the ethnographer of the Inuit (whom UB gave an honorary digital reproduction of modernist texts has opened a degree three years ago) presents Arctic mythology as greatly enlarged archive and helped to reveal the roles of scientific truth and animism. previously overlooked or marginalized subjects and groups in the period's arts and letters. We will examine This course satisfies an Early Literature OR a Breadth sites such as the Modernist Journals Project and read of Literary Study requirement 378 Mythology of the Americas (formerly ENG 377A) 379 Film Genres Professor Dennis Tedlock Professor Jerold Frakes T Th 9:30 - 10:50 Wednesdays (eve) 6:00 - 9:40 Reg. No. 23462 Reg. No. 23988 Myths not only create imaginal worlds that offer alternatives to the life world, but also offer keys to the Medievalist Film interpretation of the life world itself, revealing a mythic level of significance in everyday events. Myths also When one thinks of medievalist films, Monty Python’s give shape and meaning to dreams and visions, and “Holy Grail” or Heath Ledger in “A Knight’s Tale” or dreams and visions give rise to further myths. We will Richard Gere in “First Knight” might come to mind. try to catch those moments when the mythic world Interestingly, many if not most serious and important comes in contact with the world of experience. film directors have almost from the beginning of the art form made at least one major medievalist film: Lang, We will undertake a close reading of selected myths Bergman, Eisenstein, Bresson, Kurosawa, Tarkovski, from the Americas, attempting to enter the worlds they Herzog, Greenaway, and of course Terry Gilliam and the reveal and looking back at the life world from a Python gang. Spanning the history of film-making, these distance. We will consider myths that come to us from medievalist films more often than not provide insight storytellers, speechmakers, singers, and dramatists. One into the filmmaker’s conception of history and of week will be devoted to Native American music, both contemporary politics and social issues far more than of traditional and contemporary. In addition to readings, a particular attempt to ‘recreate’ the Middle Ages on lectures, listenings, videos, and discussions, there will film. In each case, the director’s aesthetic vision is key be a guest appearance by a Native American storyteller. to an understanding of the film. A survey of medievalist

Students will be expected to keep detailed, legible notes film-making is thus a survey of the history of on classroom presentations, readings, and their own film-making, an overview of twentieth-century political observations, and to come to class prepared for and social movements, and a survey of film-making discussion. The notebooks will be handed in (and style, technique, and aesthetics. returned) at the midterm and the end. Occasional one-page response papers will be required. In this course we will conduct a comparative study of a broad range of medievalist film representations of the There will be a take-home final essay exam, (15-20 Middle Ages from Europe, the Middle East, and East double-spaced pages), handed out at least two weeks Asia, with a focus on both the films’ social function in before the last class meeting; it will be due on the first their contemporary historical contexts and their filmic day of exams. As an alternative to some portion of the and aesthetic significance. final, students may propose in-class storytelling, dramatic performances, or presentations of artwork.

Readings, in addition to material placed on reserve or posted on UB Learns, will include Brian Swann, Coming to Light: Contemporary Translations of the Native Literatures of North America; John J. Neihardt, Black Elk Speaks; Gladys A. Reichard, Sandpaintings of the Navajo Shooting Chant; Dennis Tedlock, Finding the Center: The Art of the Zuni Storyteller; Dennis and Barbara Tedlock, Teachings from the American Earth.

First reading assignment, due next week: Finding the Center, preface, intro, guide to reading aloud, and one story: “The Boy and the Deer.”

This course satisfies an Early Literature OR a Breadth of Literary Study requirement Here’s the likely schedule: 379 Film Genres: Shakespeare & Film Professor Barbara Bono Weeks 1 and 2: Mondays (eve) 7:00 - 9:40 Set Up: Highballs and low culture: Reg. No. 23988 Shakespeare in Love (John Madden, 1998) Elizabeth and Elizabeth: The Golder Age If William Shakespeare were (Shekar Kapur, 1998; 2007) alive today—and he had the chance—he’d almost Weeks 3 and 4: certainly be working in the Shaping Fantasies: The Interpretation of A Midsummer movies. The wealth and Night’s Dream: playfulness of his language, A Midsummer Night’s Dream (selections, Max the vividness of his imagery, Reinhardt and William Dieterle, 1935) the strength and subtlety of A Midsummer Night’s Dream (selections, Joseph his action, the mordancy of Papp, 1982) his politics, the tact of his A Midsummer Night’s Dream (selections, Adrian collaborations and movement Noble, 1996) among contending patronage A Midsummer Night’s Dream (Michael and power groups, and the Hoffman, 1999) shrewdness of his business sense all argue that he would Still Dreaming (documentary, Hank Rogerson and Jilann Spitzmiller, 2014) have found a place there as a character actor, a cinematographer, a scriptwriter, or most likely a director Weeks 5 and 6: -producer, the Martin Scorcese of his day. Modern film Dead letters and Postmodern Love: Tracking Romeo and returns the compliment, incessantly redramatizing and Juliet: adapting his works for new sensibilities, new occasions. Romeo and Juliet (Franco Zeffirelli, 1968) William Shakespeare’s Romeo + Juliet (Baz In this class we will screen, discuss and write about a Luhrmann, 1996) film adaptation or cluster of film adaptations of Shakespeare’s works every week. Successful Week 7 and 8: completion of at least one college-level Shakespeare Looking for Richard: British and American Richard IIIs: course or its equivalent is a useful preparation for this Looking for Richard (selections, Al Pacino, offering, but I have had novice Shakespeareans who 1996) have done very well in it. (If you have any doubt about NOW in the Wings of a World Stage your readiness for the course, please e-mail me at (documentary, Kevin Spacey, 2014) [email protected] with a description of your Richard III (Richard Loncraine, 1995) preparation.) In every case I will assume careful and House of Cards (selections, Kevin Spacey, 2012- informed reading of the play texts under discussion. 2016) Screenings will usually take place during the first Weeks 9, 10, 11 and 12: session of the week: please be prepared to stay overtime “Once more unto the breach:” Nationalism and Post- for some of the longer films. In addition to a good Nationalism in Shakespeare’s Henriad (1 Henry IV, 2 student text of Shakespeare’s plays (I will order copies Henry IV, Henry V): of The Norton Shakespeare), required course texts will Henry V (selections, Laurence Olivier, 1944) included Russ McDonald’s The Bedford Companion to Henry V (Kenneth Branaugh, 1989) Shakespeare, 2nd edition: Timothy Corrigan’s A Short The Hollow Crown (selections, 2012; 2016) Guide to Writing About Film, 4th edition: and Courtney Chimes at Midnight (selections, Orson Welles, Lehmann’s Shakespeare Remains: Theater to Film, 1966) Early Modern to Postmodern; as well as certain required My Own Private Idaho (Gus Van Sant, 1992) article-length pieces. During the course of the semester 8 Mile (Curtis Hanson, 2002) you will be asked to submit 8 brief (1-2 page typewritten Quiz Show (Robert Redford, 1994) pages); informed but informal response papers, which will fuel our weekly discussions); a prospectus for a 7- Weeks 13 and 14: 10 page final paper (reviewed with me in individual The Story of O: Twelfth Night and conference); and the polished final paper. Modern Desire: Continued... Twelfth Night (Trevor Nunn, 1996) The Crying Game (Neil Jordan, 1992) www.buffalofilmseminars.com for the latest

This course satisfies an Early Literature requirement. information on the schedule, as well as a full list of all the films we’ve programmed in the first fourteen series, and other information about the screenings and the class. 381 Film Directors Professor Bruce Jackson At the first meeting of the class (in the lobby of the Tuesdays (Eve) 7:00 - 9:40 theater), registered students get a series pass that provides free admission to all of that semester's films. Reg. No. 23464 Since we show films and talk about them in the same *Off Campus @ Amherst Theatre, class meeting, and since a few of the films each semester Across from UB South Campus are long, we sometimes go well past the class-ending time in the UB schedule. Usually we're done by 10:30. *FORMERLY ENG 438 FILM DIRECTORS* There are no exams. Students have to maintain a note- book/diary reflecting their reactions to all the screenings, discussions and print and listserv readings. The note- books will be collected and graded three times during the term.

387 Women Writers Professor Hershini Young MWF 1:00 - 1:50 Reg. No. 23466 This class is an experiment in looking at and talking This class will introduce students to contemporary about films. It’s a regular UB class, but the general literature by women of color. Looking at novels by public is welcome to attend. We meet at the Amherst authors such as Louise Erdrich and Emily Raboteau, the Theatre across from UB South Campus on Tuesday class will disrupt dominant feminist genealogies to look nights. at work by women whose concerns both overlap and The two of us introduce each film, we screen it, we take differ from mainstream First World feminists. Issues of a short break, and then we talk about the film with the how race is always gendered and how gender students and anyone in the audience who wants to join accumulates meaningCANCELED through racial histories will be us. The non-student part of the audience has been stressed. The role of violence in shaping gender will be running over 200 people for each screening, about half examined. We will also pay close attention to issues of of whom stay for the discussions. genre—the reading list includes graphic novels, plays, novels and short stories and requires various types of The Buffalo Film Seminars are grounded in two writing and performance. underlying assumptions. The first is that watching a good film on a television set is like reading a good novel in Cliff’s Notes or Classic Comics: you may get the contour of the story but not the experience of the work. Movies were meant to be seen big, in the company of other people. The second is that a conversation among people of various ages and experiences about a good movie they’ve all just seen can be interesting and useful.

We try to pick films that will let us think and talk about genre, writing, narrative, editing, directing, acting, context, camera work, relation to sources. The only fixed requirement is that they have to be great films-- no films of "academic" interest only. You can go to 390 Creative Writing Poetry fictions and completing exercises designed to develop Professor Judith Goldman your skills at writing complex forms of narrative. In the T Th 3:30 - 4:50 second half of the semester, we will then engage one another’s work in a traditional workshop format (i.e. Reg. No. 19894 each week we’ll read two or three student manuscripts In this intermediate workshop, students will gather and critique them as a class; hopefully, the original stu- further skills as poets by writing alongside weekly dent manuscripts will embrace the spirit, if not always the model, of assigned literature selections). readings in (mainly) contemporary poetry, as well as other texts and artworks meant to inspire wide-ranging Pre-requisite: ENG 205, 206 or 207 : Introduction and adventurous critical thinking about language, ideas, Poetry Fiction or equivalent. and the world (do plants have intelligence? why does “cultural acceleration” matter? how do knots relate to This course counts as an English Elective, as well as logic and mathematics? what are problems with the toward the Creative Writing Certificate. idea of “political correctness”?). In addition to response poems, poems of their own device, and work with editing and revision of poems in draft, students will also 394 Writing Workshop: Writing for The Spectrum complete the several special assignments, possibly Jody Kleinberg Biehl including an oral performance poem, a broadside poem, Mondays 5:00 - 6:20 a “critical cartography – map as artform” poem, and/or a Reg. No. 18716 neo-benshi (film translation) work. Students can expect intensive workshop time spent on their writing and at semester’s end will turn in a mini-chapbook (12-17pp.) with a brief critical statement and process notes as their final portfolio.

Pre-requisite: ENG 205, 206 or 207 : Introduction Poetry Fiction or equivalent. Love print and online journalism? Want to write and get your work published? Looking for a way to make This course counts as an English Elective, as well as your resume look fabulous? How about getting a toward the Creative Writing Certificate. chance to see the way UB really works--and getting to talk to the important people on campus? (Not to 391 Creative Writing Fiction mention working with cool students and making good Professor Dimitri Anastasopoulos friends.)

Thursdays 3:30 - 6:10 The Spectrum, UB's student newspaper, needs students Reg. No. 19246 who are aggressive, self-motivated, and willing to meet deadlines on a weekly basis. As a writer for one of The This workshop is for advanced fiction writers who have Spectrum's desks (such as campus news, features, or completed ENG 206. The course emphasizes the devel- sports), you'll be required to report and write at least opment of each student's style and invention process, as twelve stories over the course of the semester that will well as the practical and technical concerns of a fiction be published in the paper. You'll also be required to writer's craft. Students will not only be asked to locate a attend weekly classes every Monday at 5:00 p.m. to context for their fictions by situating their work among a discuss the week’s papers, news on campus and how community of other fiction writers, but also to envision you can better your researching, reporting and writing how their stories might intersect with different schools skills. At the end of the semester, you will be required of fiction. Each writer will be expected to conceive each to submit a portfolio of the work you have done for the story within the scope of a larger fiction project as well paper over the course of the semester. as to revise extensively in order to explore the full range of the story's narrative themes. Prior experience in journalism is a plus, but not absolutely necessary. At the very least, you need to be The workshop will blend a craft-centered approach with a capable writer with solid basic writing discussions on the form and theory of fiction. We will skills. Completion of English 201 or its equivalent is spend the first third of the semester reading published a minimum qualification before Continued... registering, and English 193 is also a good idea, either editing exercises, writing and reporting stories used for before you sign up for this workshop or in conjunction editing in class, and studying and appreciating examples with it. You will be expected to attend a mandatory of articles that illustrate memorable writing and editing. organizational meeting that will be held at the begin- On each student’s writing list is “Ball Four,” Jim ning of the semester. Please check The Spectrum for Bouton’s American classic time has shown to be one of details. If you have any questions, please stop in to The the best-edited non-fiction books around. Spectrum offices and ask. Editing for the Conscientious Writer will be an object This course counts as an English Elective, as well as lesson on how becoming a good editor makes you a toward the Journalism Certificate Program. better writer, and learning the skills of good writing enhances your ability to be a valuable editor. And being a valuable editor can prove surprisingly helpful. 394 Writing Workshop: Spectrum Photographers Jody Kleinberg Biehl Mondays 4:30 - 5:50 396 Journalism Reg. No. 17212 Jody Kleinberg-Biehl T Th 11:00 - 12:20 SPECTRUM Reg. No. 20231 CL2 Course PHOTOGRAPHERS SECTION News Literacy/Feature Writing

Journalists talk about two kinds of stories: hard news and features. Hard news stories make you smarter. Features make you wiser. That’s what we’ll be writing Journalism 396 in this class – in depth pieces that focus on one topic, Charles Anzalone problem, trend or person. Thursdays (eve) 7:00 - 9:40 Reg. No. 19084 CL2 Course We’ll also be looking at the work of some of journalism’s greatest writers. Every week, we will read Editing Cyberspace, Content Production and pieces of feature writing and analyze what makes them Nurturing the Conscientious Writer remarkable. We will also critique features appearing in current newspapers and magazines and on websites. Behind every great book or article lies a great editor. We will work to become more perceptive and critical This advanced writing course is intended for students news consumers. At a time when the digital revolution who have demonstrated proficiency in basic college is flooding the market with information and composition and who hopefully have some experience disinformation, this course will help students recognize with the basics of journalism. The course will teach the differences between news and propaganda, news and students both how to edit and improve other writers' opinion, bias and fairness, assertion and verification and drafts, and how to incorporate those good writing evidence and inference. techniques into their own writing. We will become familiar with basic copyediting symbols, and learn how This course counts as an English Elective, as well as this shorthand can speed up basic editing communica- toward the Journalism Certificate Program. tion and avoid common mistakes. Students will take turns writing stories and having their classmates edit their articles; they will alternate each role throughout the semester. All students will hopefully leave the class with extensive experience both in writing stories and editing their peers' work. So the editing techniques they learn will help them become better writers, as well as become the kind of editor the smartest writers crave to be a part of their writing process.

Editing for the Conscientious Writer will be a mix of 396 Journalism 398 Ethics in Journalism Keith McShea Bruce Andriatch Mondays (eve) 7:00 - 9:40 Tuesdays (eve) 7:00 - 9:40 Reg. No. 21409 CL2 Course Reg. No. 20287

Sports Journalism Is it ever OK to break the law to get a story? When is it the right decision to publish a rumor? How do you know This class will help you understand what it means to be whether a picture that likely will offend readers and a sports journalist and and help you gain a deeper in- viewers should be used anyway? Ethics in Journalism sight into what it takes to covering athletics -- from the pushes students to examine how every action a big business of professional sports to a high school soc- journalist makes in gathering, organizing and presenting cer game. The class will teach you to talk, write and the news requires a value judgment. The course covers think about what competition means and what it means media credibility, steps in ethical decision-making, to your audience. It will teach you the best way not only handling anonymous and unreliable sources, accuracy to report the scores and the winners, but how to tell the letters, conflict of interest and the difference between longer stories that go beyond the day-to-day action in reporting and exploiting grief. The course uses the the arenas and stadiums. You will be covering games, Society of Professional Journalists code of ethics as a writing profiles, columns and keeping blogs. You will model and guideline. also learn about the pivotal -- and sometimes dangerous -- role social media plays in sports today. Students study a range of historical The instructor, Keith McShea, is an award-winning scenarios, including Watergate, as reporter and blogger for The Buffalo News. well as hypothetical cases. They debate the instructor and each other This course counts as an English Elective, as well as and participate in a panel that takes toward the Journalism Certificate Program. a position on an ethical conflict and defends it. Students read and dis- cuss the decisions and mistakes of journalists who have come before them and analyze the dilemmas unfolding in newsrooms today.

This course counts as an English Elective, as well as toward the Journalism Certificate Program.

400 English Honors : 20th C Lit in the U.S. Professor William Solomon MWF 1:00 - 1:50 Reg. No. 23467 American Modernism, Comedy, and Technology

Modernism is a cultural phenomenon that remains one of the more fascinating objects of literary history. Why? This course will seek to answer this question gradually by examining a series of representative works produced by American novelists and poets between the two world wars. Thematically our concerns will include the mental and physical impact of the city on its inhabitants, the effect of industrialization on workers, the traumas of mechanized warfare on ex-soldiers, as well as the prob- lem of addiction (especially alcoholism) in the era of Prohibition. We will also interrogate the Continued... conventional distinction between modernist art and con- Topics in Shakespeare temporaneous forms of popular entertainment, a task that 409 may be most efficiently accomplished by focusing on the Professor Carla Mazzio specifically comic manifestations of experimental writ- T Th 12:30 - 1:50 ing in the U.S. in the 1920s and 30s. With regard to this Reg. No. 23528 latter topic we will read selected theories of laughter (by Henri Bergson, Sigmund Freud, and Georges Bataille) SHAKESPEARE & VISUAL CULTURE and seek to apply these models to both literary texts and to the violence enacted on screen at the time by slapstick This course will examine film performers such as Charlie Chaplin, Buster Keaton, Shakespearean poetry and drama in and the Marx Brothers. In what ways do these materials light of a range of visual cultures of enable us to reflect on the peculiar conjunction of pleas- the Renaissance. We will explore ure and pain at the site of cultural reception? Why is it aspects of knowledge and sensation amusing to see bodies cruelly punished? And are there in Shakespearean drama with regard linguistic corollaries to such cinematic scenes of corpo- to Reformation iconoclasm and the real brutality? Authors who will help us explore this top- image on stage, Renaissance ic will include Faulkner, Cummings, Moore, Heming- skepticism and the problem of way, Eliot, and Fitzgerald, as well as Ring Lardner, perception; scientific practice and Dashiell Hammett, Richard Wright, Thomas Wolfe, the status of observation; cultural Katherine Anne Porter, George Schuyler, Mina Loy, issues integral to the arts of gesture, ekphrasis, and ana- Dorothy Parker, and Dawn Powell. morphosis, the physiology of looking in medicine and poetry; the visual dimensions of memory, emotion, and intellection, and the status of looking in terms of histori- Epic Literature cal conditions of the theater, the book, and print culture. 406 Professor Jerold Frakes This course satisfies an Early Literature Requirement. Tuesdays (eve) 7:00 - 9:40 Reg. No. 23468 418 Studies in African American Lit/History Since epic is the genre that Professor Hershini Young perhaps most vividly embodies a MWF 10:00 - 10:50 culture’s most essential values, 1) Reg. No. 23469 it is historically one of the foundational genres in a broad From the election of Barack Obama, to The Black Lives range of literary cultures, includ- Matter Movement, to Beyoncé’s performance at Super ing our own; 2) it has given us Bowl 50, the politics and poetics of blackness has taken some of the most thrilling tales of center stage throughout the last decade. In this course, enduring importance in world we will be looking at how contemporary African literature, and 3) it is almost by American fiction and popular culture re-engages with definition a genre of unabashedly 21st century blackness. More specifically, we will be racist, misogynistic, elitist, and closely studying fiction that, like time machines of heterosexist narrative, although there are important storytelling, imagines black futures by returning to the exceptions. While no culture ever identifies altogether traumatic and often erased black histories. Writers such with the values expressed in another culture’s epics, as Octavia Butler, Gayl Jones, Kiese Laymon and there is no question that epic is one of the most Victor LaValle develop unique aesthetic relationships cross-culturally important and influential literary genres. between literature and history in order to recover black, In this course, we will examine the core epics of the queer and female voices from the past who have been traditional conception of the ‘Western Tradition’ in all silenced by legacies of white supremacy. Thus, their glory (and ignominy): Homer’s Iliad, Virgil’s engaging with the work of such writers offers us the Aeneid, the Old English Beowulf, the medieval Greek opportunity to reflect on the political potentials of Digenis Akritas, and the modern epics: Elias Lönnroth's reading and writing.

Kalevala and Derek Walcott's Omeros. This course satisfies a Breadth of Literary Study This course satisfies an Early Literature Requirement. Requirement 434 Advanced Creative Writing: Poetry writing fiction pieces, workshopping them and Karen Mac Cormack (possibly) revising them. T Th 12:30 - 1:50 Pre-requisite: ENG 207: Introduction Poetry Fiction or Reg. No. 22381 equivalent, and ENG 391 Creative Writing Fiction.

This workshop/seminar course will focus on writing and This course counts as an English Elective, as well as the temporal, investigating the dynamics of poetry with- toward the Creative Writing Certificate. in appropriate historical contexts designed to frame and inform the students' own work. We will examine the Literature of Migration poetry considered "radical" within its own era and 447 compare the techniques employed to create it. Professor Joseph Conte ONLINE COURSE Texts to be considered include: the early 20th century Reg. No. 22383 attacks on grammar and the sentence by the Italian Futurist and Dada writers, Surrealist automatic writing, The path of immigration into the United States extends Chance Operations, the techniques resulting in Treated from the halls of Ellis Island to the globalized migration Texts, the radical poetics of the late 20th century and of the twenty-first century. First-generation immigrants early 21st century, and translation as a creative strategy. are often driven to these shores by the blight of poverty (Antecedents from earlier centuries will be included for or the sting of religious or political persecution; hope to discussion.) Temporality as content will be considered, make for themselves a fabled but often factitious “better as well as what happens to temporality within a poetic life”; and are riven between the desire to retain text. How does time enter writing as both historical old-world customs and language and the appeal of content and readerly experience? By exploring these new-world comforts and technological advances. varying dynamics the course will contextualize the multiple meanings of writing poetry at the beginning of the 21st century.

In advance of the first class_ students should submit by e-mail three of their own poems to Karen Mac Cormack at [email protected].

Pre-requisite: ENG 207: Introduction Poetry Fiction or equivalent, and ENG 390 Creative Writing Poetry… or by permission of instructor.

This course counts as an English Elective, as well as toward the Creative Writing Certificate.

435 Advanced Creative Writing: Fiction Professor Nnedi Okorafor T Th 3:30 - 4:50 Second-generation immigrants face the duality of a national identity—striving to become recognized as Reg. No. 16832 “real Americans”—and an ethnic heritage that they wish This is a class for storytellers whose method of choice is to honor and sustain but which marks them as always an prose. Novelists, short story, novella, and novelette “other.” Here we encounter the hyphenated status of the writers are welcome.The purpose of this class is to help preponderance of “natural born” American citizens. The advanced creative writing students develop their skills. third-generation descendent will have only indirect or Students will read short stories in order to examine acquired familiarity with his or her ethnic heritage; the various elements of the craft. However, the course is loss of bilingualism or at best a second language writing workshop heavy and will mostly consist of acquired in school; and frequently a multiethnic identity resulting from the complex scrabble of Continued... American life in a mobile, suburban, and professional- 495 Supervised UG Teaching ized surrounding. Rhonda Reid We will view films and read a selection of both fiction MWF 1:00 - 1:50 and memoir that reflect the immigrant experience in this Reg. No. 22384 country. Jacob Riis documents the penury and hardship of tenement life among the newly arrived underclass in English 495 introduces students to theories of writing How the Other Half Lives (1890). Anzia Yezierska’s and writing consultancy. novel Bread Givers (1925) treats the conflict between a devout, old-world Jewish father and a daughter who The skills developed in this class will help students to wishes to be a modern independent woman. We’ll want leverage writing skills into to compare Yezierska’s immigrant experience of 1900 professional contexts and with the Soviet-era migration of Russian Jews to New provide experience with teaching York in Gary Shteyngart’s comic autobiography Lit- and mentoring in both real and tle Failure (2014). Mount Allegro (1989), Jerre Man- virtual environments. Students gione’s memoir of growing up in the Sicilian enclave of who have completed the course Rochester, NY, portrays ethnicity that is insular, protec- are eligible to apply as writing tive of its “imported from Italy” values, and yet desper- consultants in the Center for ate to find recognition as an authentic version of Writing Excellence. “Americanness.” The film Big Night (1996), directed by Campbell Scott and Stanley Tucci, serves up Italian food with abbondanza, “rich abundance,” but not a single Mafioso. In his long career as an English teacher and barroom raconteur, Frank McCourt preserved the harrowing story of his youth in Limerick, Ireland and New York for Angela’s Ashes (1997) and ‘Tis (1999); like so many immigrant families, the McCourts re- emigrated between transatlantic failures. We’ll screen the film adaptation of Angela’s Ashes, directed by Alan Parker, and read the second volume of his autobiog- raphy. Junot Díaz, in The Brief Wondrous Life of Oscar Wao (2007), follows the “Ghetto Nerd,” his voluptuous sister and hot-tempered mother between urban-industrial Paterson, New Jersey and their Dominican homeland. Finally, we’ll view the docufiction film, Who Is Dayani Cristal? starring Gael García Bernal and directed by Marc Silver, which retraces the journey made by a migrant laborer whose desiccated body was found in Ari- zona’s forbidding Sonora Desert. UB’s Baird Point, on Lake LaSalle - North Campus

As this is an exclusively online course, our discussion of Continue on to find information about: these books and films will take place in the UB Learns environment. Writing assignments on ethnicity, identity  The Creative Writing Certificate and migration will be shared and critiqued among class members in the UB Learns discussion boards throughout  The Journalism Certificate Program the semester.  English Honors

 Major and Minor requirements

 Application for Degree deadlines

. . . and more! MAJOR REQUIREMENTS FOR THE DEPARTMENT OF ENGLISH 2016-2017

Director of Undergraduate Studies: Professor Steven Miller Office of Undergraduate Studies: 303 Clemens Hall (645-2579) Secretary: Nicole Lazaro

1. FULL MAJOR IN ENGLISH - for students accepted to the major Fall 2015 and after.

Minimum Requirements for Department Acceptance:

Students should be in good standing (i.e., have a GPA of 2.0), have satisfied the University Writing Skills requirement. Application includes a conference with the Director of Undergraduate Studies about the program’s requirements and how the student may meet them.

Department Requirements for Graduation:

1. One 200-level survey course (ENG 221 World Literature, ENG 231 British Writers 1, ENG 232 British Writers 2, ENG 241 American Writers, ENG 242 American Writers 2)

2. Two additional 200-level courses (202-299)

3. Ten courses (30 credits) on the 300-400 level, as follows:

A. One course (3 credits) in Criticism – English 301. Criticism introduces the students to the practice and principles of literary criticism. Classes will discuss the close reading of texts (including poetry, prose, and analytical writing), the intelligent use of secondary sources, the revision of critical prose, the meaning of scholarly conventions, and several varieties of literary theory. Topics vary with instructors’ interests, but in all sections students will draft and revise a research paper of at least twelve pages. Criticism may not fulfill any other require- ments for the major.

B. Four courses (12 credits) in Earlier Literature (literature written before 1800), chosen from among specified courses that focus on literature written before 1800.

C. One course (3 credits) in Breadth of Literary Study, chosen from among specified upper-level English courses that are grounded in perspectives or experience outside the literary mainstream.

D. Four additional (elective) courses: one in the ENG 200-ENG 400 level, two in the ENG 300-ENG 400 level, and one at the ENG 400 level; neither an internship nor an independent study will satisfy this requirement.

13 courses (39 credits) in all. * * * * *

2. JOINT MAJOR IN ENGLISH - for students accepted to the major Fall 2015 and after.

Minimum Requirements for Department Acceptance: Same as for the full major.

Department Requirements for Graduation

Approval by both departments, minimum GPA of 2.0 overall, and completion of the university writing skills requirement.

1. One 200-level survey course (ENG 221 World Literature, ENG 231 British Writers 1, ENG 232 British Writers 2, ENG 241 American Writers, ENG 242 American Writers 2)

2. Two additional 200-level courses (202-299)

3. Seven courses on the 300-400 level, as follows:

A. One course (3 credits) in Criticism – English 301. Criticism introduces the students to the practice and principles of literary criticism. Classes will discuss the close reading of texts (including poetry, prose, and analytical writing), the intelligent use of secondary sources, the revision of critical prose, the meaning of scholarly conventions, and several varieties of literary theory. Topics vary with instructors’ interests, but in all sections students will draft and revise a research paper of at least twelve pages. Criticism may not fulfill any other requirements for the major.

B. Three courses (9 credits) in Earlier Literature (literature written before 1800), chosen from among specified courses that focus on literature written before 1800.

C. One course (3 credits) in Breadth of Literary Study, chosen from among specified upper-level English courses that are grounded in perspectives or experience outside the literary mainstream.

D. Two additional (elective) courses (6 credits): one in the ENG 300-ENG 400 level, and one in the ENG 400 level; neither an internship nor an independent study will satisfy this requirement.

10 courses (30 credits) in all. * * * * * 3. MINOR IN ENGLISH

Minimum Requirements for Department Acceptance: Same as for the full major.

Department Requirements for Graduation

1. Two courses (6 credits) of English in the 202-299 range, with a minimum GPA of 2.5 in these courses.

2. One course (3 credits) in Criticism - English 301.

3. One course (3 credits) in Earlier Literature.

4. Two electives (6 credits) in the 300-400 range.

Six courses (18 credits) in all. * * * * * 4. ENGLISH HONORS PROGRAM

Minimum Requirements for Department Acceptance:

For entry to the English Honors Program, students must bring a 5-7 page critical English writing sample to the Undergraduate Office, and have a 3.5 GPA within English or faculty recommendation for Honors; if the latter, students must have achieved a 3.5 GPA before graduation in order to graduate with honors.

*Students with an English GPA of 3.8 or above do not need to submit a writing sample to be admitted, simply stop by Clemens 303 and ask to be added to our Honors Program.

Department Requirements for Graduation with Honors

1. At least one English Department honors seminar (3 credits)

2. One Senior Thesis - independent work culminating in a thesis of 30-35 pages. This might be a research essay or a form of creative work. A creative thesis must include two introductory pages placing the work in a conceptual context. The honors student may choose to take either one or two semesters to complete the honors thesis (3-6 credits). * * * * *

5. GENERAL RECOMMENDATIONS

A. Program Planning. Individual programs should be chosen in a coherent way and should take advantage of groupings and concentrations within the Major.

B. Department Advisement and Degree Evaluation. Feel free to consult with the Undergraduate Director in Clemens 303 about your progress towards the degree or your course selections. English majors should check with the Director if they have questions about their records, department requirements, or their program in general.

C. Transfer Credit Evaluation. Transfer credit is evaluated on an individual basis by the Undergraduate Director. Students must make an appointment with the Undergraduate Director to have an evaluation of transfer work. Students transferring from MFC or who are re-entering after several years’ absence should also consult with the Undergraduate Director for an evaluation of their English work. The Department may accept two lower-level and four upper-level transfer courses at the Director's discretion.

* * * * * CREATIVE WRITING CERTIFICATE The Department of English is pleased to announce the launch of a new Creative Writing Certificate for undergraduates. The new 6-course curriculum will give young writers the skills they need to significantly develop their practice of poetry and fiction. By taking writing workshops from the introductory to advanced levels, along with courses in contemporary literature, student writers will begin to experience writing as an active way of looking at, and inserting themselves into, the world around them. Our aim is to help our students share their unique imaginative universe.

Creative Writing students have a wealth of writing related opportunities to draw on in the English Department: NAME, the recently revived student-run poetry and fiction magazine, as well as the vibrant Poetics Plus reading series and the Exhibit X Fiction Series, which bring nationally regarded poets and fiction writers to Buffalo to meet with students.

CREATIVE WRITING CERTIFICATE CURRICULUM (6 courses):

*Prerequisite for all creative writing courses: ENG 207: Intro to Poetry and Prose

*3 workshops in poetry or fiction (390, 391, 434, 435). One of the workshops must be at the 400 level. It is recommended, but not required, that students take courses in both genres.

*392: Literature, Writing, Practice, or a similar literature course with a writing or author focus, such as 339: American Poetry or 353: Experimental Fiction (or another course approved by the Creative Writing Advisor).

*Capstone course: 480: Creative Writing Capstone (or equivalent as determined by the Creative Writing Advisor)

For more information about the new Creative Writing Certificate, please contact Professor Dimitri Anastasopoulos, at [email protected] and join our Facebook page at: www.facebook.com/UBCWF.

Creative Writing courses count toward the English major or minor requirements, as well as for the Creative Writing Certificate.

*Note: You do not need to be an English major to earn this certificate, however the Creative Writing Certificate is only awarded concurrently upon completion of a bachelor’s degree at the University at Buffalo. The Creative Writing Certificate is designed to help students shape their worlds in words—to share their unique imaginative universe in writing. As 2010 Nobel Prize winner Mario Vargas Llosa reflected: “You cannot teach creativity…But you can help a young writer discover within himself what kind of writer he would like to be.”

The Certificate helps students explore what “kinds” of writers they might be and experience writing as an active way of looking at, and inserting themselves into, the world around them: experience writing as a praxis of life.

 Open to students in all majors  18 credits hours to completion (Certificate awarded concurrently with BA degree at UB)  Includes workshops at the introductory and advanced levels  Students publish in their own literary magazine (or more than one) and participate in poetry readings  Students work close with faculty mentors  Creative Writing faculty are published poets and fiction writers, representing a broad range of stylistic approaches and techniques  For more information about the Creative Writing Certificate visit: http://www.buffalo.edu/cas/english/undergraduate-programs/creative-writing-certificate.html

For more information, or to apply, contact Professor Dimitri Anastasopoulos, The Director of Creative Writ- ing at [email protected].

Why Creative Writing? . . .

Everyone writes. We’re social beings. We tweet. We blog. We post status updates. Send emails that describe and shape descriptions of our day-to-day life for friends, family, and colleagues. We turn in papers and lab reports that meet our professors’ expectations. Perhaps we keep a journal to reflect on the pleasures and ironies of daily experiences that take us by surprise. Everyone writes. But sometimes we put words on a page and we’re not sure what they are. The Creative Writing Certificate is designed to give students a space where you can figure out what kind of writing you do. What shape it can take. Let us help you to discover what your writing might become.

FALL 2016 COURSE OFFERINGS

207 Intro Writing Poetry/Fiction MW (eve) 7:00 Flaccavento 207 Intro Writing Poetry/Fiction MW 5:00 Nashar

(ENG 207 is a pre-requisite course for the Creative Writing Certificate)

390 Creative Writing Poetry T Th 3:30 Goldman 391 Creative Writing Fiction Thursdays 3:30 Anastasopoulos 434 Advanced Creative Writing Poetry T Th 12:30 Mac Cormack 435 Advanced Creative Writing Fiction T Th 3:30 Okorafor ENG 207 - Intro to Poetry/Fiction ENG 207 - Intro to Poetry/Fiction Joshua Flaccavento Claire Nashar MW (eve) 7:00-8:20 MW 5:00 - 6:20 Reg. No. 19795 Reg. No. 20230

Vladimir Nabokov once reflected that “a writer should have the precision of a poet and the imagination of a scientist.” This introductory course is specifically designed for beginning writers who would like to take the first steps towards exploring the craft of poetry and fiction. Students will be introduced to the fundamental vocabulary and basic techniques of each genre. Throughout the semester, the class will also be presented with a diverse group of readings to study and emulate in order to kindle our own imaginative strategies. No prior writing experience is necessary.

Through a series of linked exercises and related readings, ENG 207 will introduce students to fundamental elements of the craft of writing poetry and fiction. We will study differing modes of narration (the benefits of using a 1st person or a 3rd person narrator when telling a story, or how an unreliable narrator is useful in the creation of plot). We will examine character development (why both “round” and “flat” characters are essential to any story), as well as narrative voice (creating “tone” and “mood” through description and exposition), and think about “minimal” and “maximal” plot developments. We will consider the differences between closed and open forms of poetry. The use of sound and rhythm. We will try our hand at figurative language and consider how imagery is conveyed through our choice of words. We will study prosody and the practice of the line.

Selected readings will expose you to a variety of poetic forms, fictional styles and narrative models. Assigned exercises will give you the space to practice and experiment with unfamiliar forms. Students will also be given the opportunity to meet with visiting poets and fiction writers at Poetics Plus and Exhibit X readings on campus and in downtown Buffalo.

It may come as no surprise that Nabokov also noted that he has “rewritten—often several times—every word I have ever published.” This introductory course is designed to be the first step on the long journey of literary practice.

ENG 390 Creative Writing Poetry (Pre-requisite: ENG 205, 206 or 207 : Introduction Poetry Fiction or equivalent.) Professor Judith Goldman T Th 3:30 - 4:50 Reg. No. 19894

In this intermediate workshop, students will gather further skills as poets by writing alongside weekly readings in (mainly) contemporary poetry, as well as other texts and artworks meant to inspire wide- ranging and adventurous critical thinking about language, ideas, and the world (do plants have intelligence? why does “cultural acceleration” matter? how do knots relate to logic and mathematics? what are problems with the idea of “political correctness”?). In addition to response poems, poems of their own device, and work with editing and revision of poems in draft, students will also complete the several special assignments, possibly including an oral performance poem, a broadside poem, a “critical cartography – map as artform” poem, and/or a neo-benshi (film translation) work. Students can expect intensive workshop time spent on their writing and at semester’s end will turn in a mini-chapbook (12-17pp.) with a brief critical statement and process notes as their final portfolio. ENG 391 - Creative Writing Fiction (Pre-requisite: ENG 205, 206 or 207 : Introduction Poetry Fiction or equivalent.) Professor Dimitri Anastasopoulos Thursdays 3:30 - 6:10 Reg. No. 19246

This workshop is for advanced fiction writers who have completed ENG 206. The course emphasizes the development of each student's style and invention process, as well as the practical and technical concerns of a fiction writer's craft. Students will not only be asked to locate a context for their fictions by situating their work among a community of other fiction writers, but also to envision how their stories might intersect with different schools of fiction. Each writer will be expected to conceive each story within the scope of a larger fiction project as well as to revise extensively in order to explore the full range of the story's narrative themes.

The workshop will blend a craft-centered approach with discussions on the form and theory of fiction. We will spend the first third of the semester reading published fictions and completing exercises designed to develop your skills at writing complex forms of narrative. In the second half of the semester, we will then engage one another’s work in a traditional workshop format (i.e. each week we’ll read two or three student manuscripts and critique them as a class; hopefully, the original student manuscripts will embrace the spirit, if not always the model, of assigned literature selections).

ENG 434 Advanced Creative Writing Poetry (Pre-requisite: ENG 205, 206 or 207 , and ENG 390) Karen Mac Cormack T Th 12:30 - 1:50 Reg. No. 22381

This workshop/seminar course will focus on writing and the temporal, investigating the dynamics of poetry within appropriate historical contexts designed to frame and inform the students' own work. We will examine the poetry considered "radical" within its own era and compare the techniques employed to create it.

Texts to be considered include: the early 20th century attacks on grammar and the sentence by the Italian Futurist and Dada writers, Surrealist automatic writing, Chance Operations, the techniques resulting in Treated Texts, the radical poetics of the late 20th century and early 21st century, and translation as a creative strategy. (Antecedents from earlier centuries will be included for discussion.) Temporality as content will be considered, as well as what happens to temporality within a poetic text. How does time enter writing as both historical content and readerly experience? By exploring these varying dynamics the course will contextualize the multiple meanings of writing poetry at the beginning of the 21st century.

In advance of the first class_ students should submit by e-mail three of their own poems to Karen Mac Cormack at [email protected]. ENG 435 Advanced Creative Writing Fiction (Pre-requisite: ENG 205, 206 or 207 , and ENG 391) Professor Nnedi Okorafor T Th 3:30 - 4:50 Reg. No. 16832

This is a class for storytellers whose method of choice is prose. Novelists, short story, novella, and novelette writers are welcome.The purpose of this class is to help advanced creative writing students develop their skills. Students will read short stories in order to examine various elements of the craft. However, the course is writing workshop heavy and will mostly consist of writing fiction pieces, workshopping them and (possibly) revising them.

LITERARY MAGAZINE Students involved in the Creative Writing Certificate edit and produce NAME, our annual Undergraduate Literary Magazine. NAME publishes creative fiction and poetry from currently enrolled UB undergraduates. Its primary mission is to encourage and foster a thriving and vital community of undergraduate creative writers at UB. NAME was co-founded in 1998 by Jessica Smith with Matt Chambers, Rebecca Stigge, and Chris Fritton. The faculty advisor is Professor Christina Milletti.

OUR MISSION

Open to all majors, the Creative Writing Certificate is designed to support young writers. Our distinctive mentorship program encourages conversations between faculty and students, between peer writers, as well as the many guest writers who visit UB each semester in our nationally regarded Exhibit X Fiction and Poetics Plus Series.

The Creative Writing Certificate program particularly invites students from outside the Humanities to take our courses. Whether you’re studying Architecture or Engineering, Business and Management, Arts or Dance, or programs in Applied, Computer, Cognitive, or Pharmaceutical Sciences, our faculty can find a way to work with you and your creative interests.

The Creative Writing Certificate is founded, above all, in a supportive community of writers who participate equally in the workshop experience. Faculty writers endeavor to see the promise in each student’s work. And we encourage our students to see the potential in the workshop space they develop together. Our shared task is to help you to discover the idiom of your art: to evolve your worlds as words.

In our courses, students will be encouraged to view writing as an experience—a process that may end in finished work, the beginning of a new project, or the exploration of related roles in careers as diverse as publishing, advertising, public relations, journalism, communications, web content management and social media platforms, information technology, law and jurisprudence, as well as television and media. Journalism Certificate Program

ABOUT THE PROGRAM — Today’s media recruiters want candidates with more than solid reporting and story-writing skills. They want applicants with specialized knowledge in complicated subject areas – plus the ability to delve into those areas and provide meaningful contexts for news events, for readers and viewers.

The journalism certificate program at UB provides students with an educational foundation in writing and reporting for publication, emphasizing hands-on workshops and internships designed to transition students into the professional world. Classes concentrate on journalistic skills including feature writing, news reporting, and opinion writing.

In addition, the program fosters an understanding of U.S. and global media, journalism ethics and integrity standards associated with the journalism profession. It’s an interdisciplinary course of study comprised of coursework offered by the Departments of English, Communication, and Media Study.

The certificate should be viewed as an accompaniment to a student’s major course of studies. Concentrating on subjects such as business, law, history or political science for the core of undergraduate studies will give students a foundation to draw on in pursuing a journalism career.

The journalism certificate is NOT a baccalaureate degree program. It is designed to help students master the tools of journalism while offering the freedom to concentrate on core knowledge areas – putting students on the right track to succeed in the professional media world.

The Journalism Certificate provides students with a formal educational foundation in writing and reporting for publication as well as an understanding of the U.S. and global media. In addition, the program fosters an understanding of journalism ethics and integrity standards associated with the journalism profession. The courses are taught by UB faculty and professional reporters and editors working for local media. Having professional reporters and editors in the classroom provides students with practical educational experiences including writing, editing, research, interviewing skills development, and understanding the expectations of editors.

ADVISEMENT Students interested in the Journalism Certificate Program should seek advisement on course selection from the Director of the program, Jody Kleinberg Biehl. Students may also send inquires to [email protected].

ACCEPTANCE CRITERIA Minimum GPA of 2.5 overall. Applicants should have completed all certificate program prerequisites. Prerequisite Courses

ENG 101 - Writing 1, and ENG 201 - Advanced Writing 1, or ENG 102 - Writing 2, as placed, unless exempted; or ENG 105 Writing and Rhetoric. ENG 193 - Fundamentals of Journalism (Journalism I)

Students must have a minimum GPA of 2.5 in order to qualify for and stay in the certificate program.

Required Courses

 DMS 105 - Introduction to Documentary Filmmaking (4 credits)  ENG 398 - Ethics in Journalism  ENG 396 - Journalism  Two Internship Courses: Choose from ENG 394 Writing Workshop, ENG 496, Writing Internship, or COM 496 Internship in Communication (two semesters; Fall and Spring)  Electives (two courses): To be selected from the list below or in consultation with the program advisor.

Recommended electives: Literary Journalism (ENG 397), Popular Culture (ENG 356), Non-Fiction Prose (ENG 393), Life Writing (ENG 354), New Media (ENG 380), Intermediate Video Workshop (DMS 341), Advanced Documentary (DMS 404) Non-Fiction Film (DMS 409) Social Web Media (DMS), Documentary Film (DMS), New Media (DMS 537) and appropriate courses in English, Media Study, Communication, or subject areas useful to journalism.

Note: The certificate is only awarded concurrently upon completion of a bachelor’s degree at the University at Buffalo Journalism Program Overview

The Journalism Certificate Program trains students to be 21st-century thinkers, writers and media professionals. Journalism today is engulfed in change. Online technology and citizen journalism are altering how journalists gather, report and convey information, and students need to be ready.

Our instructors, many of whom are working journalists, combine lessons on reporting, interviewing and writing skills with discussions on how to use new media to convey information. The program, approved through the SUNY system, begins by teaching the fundamentals of reporting, writing, editing and producing stories for print, online and broadcast journalism. Introductory courses teach students where to go for information, how to conduct interviews and produce accurate and clear pieces on deadline. Advanced courses focus on feature, opinion and online writing, and the possibilities the web and video offer. The program is interdisciplinary and offers courses from the English, Media Study and Communication departments.

Our award-winning instructors serve as mentors and take time beyond class hours to assist students. UB has produced numerous successful journalists including CNN's Wolf Blitzer (1999, 1970), CNN Senior Producer Pam Benson (1976), NPR's Terry Gross (1972), and Pulitzer Prize winning cartoonist Tom Toles (2002, 1973) and has an active alumni network to help students get jobs. The program is housed in the Eng- lish department.

The Journalism Certificate Program continues to add courses and to grow every semester.

Contact us: Journalism Certificate Program - 311 Clemens Hall, North Campus, Buffalo, NY 14260-4610 Phone: 716.645.0669 Fax: 716.645.5980 Email: [email protected] Program Director: Jody Kleinberg Biehl Website: journalism.buffalo.edu

Fall 2016 Course Offerings

193 Fundamentals of Journalism Wednesdays (eve) 7:00 Galarneau (Pre-requisite course for Journalism Certificate)

394 Writing Workshop (Spectrum Newspaper) Mondays 5:00 Biehl

394 Writing Workshop (Spectrum Photographers) Mondays (eve) 7:00 Biehl

396 Journalism: Editing Cyberspace, Content Production Thursdays (eve) 7:00 Anzalone and Nurturing the Conscientious Writer

396 Journalism: News Literacy/Feature Writing Tuesday/Thursday 11:00 Biehl

396 Journalism: Sports Journalism Mondays (eve) 7:00 McShea

398 Ethics in Journalism Tuesdays (eve) 7:00 Andriatch

*Note: 300-level Journalism courses count toward the English major or minor requirements, as well as for the for the Journalism Certificate Program. ENG 193 - Fundamentals of Journalism Andrew Galarneau Wednesdays 7:00 - 9:40 Reg. No. 19629

This course is a gateway into the Journalism Certificate program and teaches students to research, report and write news and feature stories for print, broadcast and the web. It also provides an overview of American journalism standards and an introduction to American media and press law.

Students learn to conduct interviews, use quotes, and write in Associated Press style. They also learn the importance of accuracy, integrity and deadlines. Students analyze the merit and structure of good (and bad) news stories and focus on how journalists tell stories differently in print, radio, TV and on the web.

Students will have in-class quizzes and take-home writing exercises, designed to help them master the fundamentals of news writing. Those include two stories that students will take from start to finish: shaping a story idea, identifying sources and interviewing them, crafting the material into final written form. In addition to a textbook, students will read selected stories in class pertinent to class discussions.

This course is a Pre-requisite to the Journalism Certificate Program.

ENG 394 SPC - Writing Workshop: Writing for The Spectrum Jody Biehl Mondays 5:00 - 6:20 Reg. No. 18716

Love print and online journalism? Want to write and get your work published? Looking for a way to make your resume look fabulous?

How about getting a chance to see the way UB really works--and getting to talk to the important people on campus? (Not to mention working with cool students and making good friends.)

The Spectrum, UB's student newspaper, needs students who are aggressive, self-motivated, and willing to meet deadlines on a weekly basis. As a writer for one of The Spectrum's desks (such as campus news, features, or sports), you'll be required to report and write at least twelve stories over the course of the semester that will be published in the paper. You'll also be required to attend weekly classes every Monday at 5:00 p.m. to discuss the week’s papers, news on campus and how you can better your researching, reporting and writing skills. At the end of the semester, you will be required to submit a portfolio of the work you have done for the paper over the course of the semester.

Prior experience in journalism is a plus, but not absolutely necessary. At the very least, you need to be a capable writer with solid basic writing skills. Completion of English 201 or its equivalent is a minimum qualification before registering, and English 193 is also a good idea, either before you sign up for this workshop or in conjunction with it. You will be expected to attend a mandatory organizational meeting that will be held at the beginning of the semester. Please check The Spectrum for details.

If you have any questions, please stop in to The Spectrum offices and ask.

ENG 394 SPP - Writing Workshop: Writing for The Spectrum Jody Biehl Mondays (eve) 7:00 - 8:20 Reg. No. 17212

SPECTRUM PHOTOGRAPHY SECTION - Photographers Only ENG 396 ST1 - Journalism - News Literacy/Feature Writing Jody Kleinberg-Biehl T Th 11:00 - 12:20 Reg. No. 20231

Journalists talk about two kinds of stories: hard news and features. Hard news stories make you smarter. Features make you wiser. That’s what we’ll be writing in this class – in depth pieces that focus on one topic, problem, trend or person.

We’ll also be looking at the work of some of journalism’s greatest writers. Every week, we will read pieces of feature writing and analyze what makes them remarkable. We will also critique features appearing in current newspapers and magazines and on websites. We will work to become more perceptive and critical news consumers. At a time when the digital revolution is flooding the market with information and disinformation, this course will help students recognize the differences between news and propaganda, news and opinion, bias and fairness, assertion and verification and evidence and inference.

ENG 396 ST2 - Journalism - Editing Cyberspace, Content Production and Nurturing Conscientious Writer Charles Anzalone Thursdays (eve) 7:00 - 9:40 Reg. No. 19084

Behind every great book or article lies a great editor. This advanced writing course is intended for students who have demonstrated proficiency in basic college composition and who hopefully have some experience with the basics of journalism. The course will teach students both how to edit and improve other writers' drafts, and how to incorporate those good writing techniques into their own writing. We will become familiar with basic copyediting symbols, and learn how this shorthand can speed up basic editing communication and avoid common mistakes. Students will take turns writing stories and having their classmates edit their articles; they will alternate each role throughout the semester. All students will hopefully leave the class with extensive experience both in writing stories and editing their peers' work. So the editing techniques they learn will help them become better writers, as well as become the kind of editor the smartest writers crave to be a part of their writing process.

Editing for the Conscientious Writer will be a mix of editing exercises, writing and reporting stories used for editing in class, and studying and appreciating examples of articles that illustrate memorable writing and editing. On each student’s writing list is “Ball Four,” Jim Bouton’s American classic time has shown to be one of the best-edited non- fiction books around.

Editing for the Conscientious Writer will be an object lesson on how becoming a good editor makes you a better writer, and learning the skills of good writing enhances your ability to be a valuable editor. And being a valuable editor can prove surprisingly helpful.

ENG 396 ST3 - Journalism: Sports Journalism Keith McShea Mondays (eve) 7:00 - 9:40 Reg. No. 21409

This class will help you understand what it means to be a sports journalist and and help you gain a deeper insight into what it takes to covering athletics -- from the big business of professional sports to a high school soccer game. The class will teach you to talk, write and think about what competition means and what it means to your audience. It will teach you the best way not only to report the scores and the winners, but how to tell the longer Continued... stories that go beyond the day-to-day action in the arenas and stadiums. You will be covering games, writing profiles, columns and keeping blogs. You will also learn about the pivotal -- and sometimes dangerous -- role social media plays in sports today.

The instructor, Keith McShea, is an award-winning reporter and blogger for The Buffalo News.

ENG 398 STA - Ethics in Journalism Bruce Andriatch Tuesdays (eve) 7:00 - 9:40 Reg. No. 20287

Is it ever OK to accept a gift from a news source? Can a reporter break a law in the pursuit of some stories? Are there some situations in which it would be OK to name a rape victim? There are no easy answers to any of these questions, but debating what to do in these situations happens in newsrooms every day.

In Journalism Ethics, students will learn how to reach a conclusion that is both ethically sound and defensible. Using the code of ethics that is considered the industry standard, a book written by two distinguished journalists, case studies and real -life examples, students will come to understand and be able to practice ethical behavior. The class includes in-class tests, papers and debates among students.

JOURNALISM PROGRAM NEWS

 The Spectrum, UB’s independent student newspaper, is linked to the journalism program. The awards are the highest honors in college journalism.

 Spectrum newspaper votes in 2016-2017 EIC: Gabriela Julia will be The Spectrum’s 2016-2017 editor in chief. Julia, a communication major, is the newspaper’s current managing editor and has worked on the paper since her freshman year. She will be The Spectrum’s first Latina editor in chief. Spectrum students have won 21 national journalism awards in the past five years. The Spectrum is recruiting writers, editors, photographers and videographers for the fall 2016 class.

 Gabriela Julia, Marlena Tuskes and Kainan Guo win 5th annual Rosalind Jarrett Sepulveda Journalism EducationAward... The students won a $1,000 scholarship toward a two-night stay in New York City to attend the College Media Association’s 2015 media conference from March 12-15. Julia, Spectrum managing editor, will be Spectrum editor in chief next year. Tuskes is senior news editor and Guo is senior photo editor and an international student to win the award. Guo received an honorable mention and will have his $130 conference registration fee paid. Over 1,000 journalists, journalism professors and students will attend the four-day media convention. Students will meet and mingle with professionals, learn from the nation’s top media thinkers and meet students from across the country. In all your work, strive for:

Clarity Accuracy Generosity Rigor

Clarity: Write lucidly, articulately, well. Your essays should have clear aims and ask substantive questions. Constantly try to improve your style and enlarge your powers of expression. Remember – you aim to communicate, so give your reader room to follow. Aspire to nuance, but avoid complexity for complexity’s sake.

Accuracy: In your language, in your research, in your citational practices, in your transcriptions and note- keeping. Inaccuracy proliferates from the point of your first mistake. Constantly check and revise your work to eliminate errors.

Generosity: You participate in a community of scholars. Nurture that community by sharing your thoughts, sharing your passions, and sharing your sources. Speak to each other. Intellectual work is for the common good. We are humanists, after all.

Rigor: Learn your field, read deeply and widely, never cut corners. Aim to serve the principles that first brought you to academia, and never try to mimic somebody else. Center for Excellence in Writing

With the emergence of UB’s new Center for Excellence in Writing, a cohesive vision for writing development at UB is becoming a reality. Our three branches cooperate to invigorate and strengthen writing practices at UB, a growing, global research university.

First Year Writing: The Composition Program introduces students to the humanistic discipline of rhetoric, which they will employ as a crucial, scholarly means for understanding the advanced, disciplinary communication practices they will encounter as students and professionals and for entering the sophisticated discourses of an intellectual civic life.

The Writing Center: Located in 209 Baldy, the Writing Center provides services to writers across the campus. We provide Center for Excellence individual consultations to writers at all levels, supporting their research and writing activities. The Center also hosts in Writing workshops and programs to encourage the pursuit of 209 Baldy Hall excellence in writing at UB. University at Buffalo Writing in the Disciplines (WID): Recognizing that learning North Campus to write is a life-long activity and that each discipline has its Buffalo, NY 14260-0001 own research and writing conventions, we encourage writing Phone: 716-645-5139 instruction across the university, supporting faculty and departments to develop curriculum, syllabi and assignments. Email: In addition, we may provide support to individual, writing- [email protected] intensive classrooms. Looking forward to Fall...

DEPARTMENTDEPARTMENT OF OF ENGLISHENGLISH Looking forward to Fall...

SPECIAL POINTS OF INTEREST: SPECIAL Spring POINTS2009 Writing Prizes  Library Skills requirement Spring 2009 English Department Writing Prizes OF INTEREST: Application for Degree HUB Student Center, more info is just a click away...

 Application deadlines HUB System Features:  Institutional Checklist/ Questions: Contact the  UB’s Student To-Do Items/ Student Response Center at

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dents, while others NEEDwring HELP?? and help cele‐ submissions is Friday, Personal Information: Self-servicealso include personal graduate data: Technicalbrate the powerQuestions: of the March 6th,HAVE 2009. A GREAT names,student phones, par andcipa de-on. Contactword. the CIT Help Desk: SEMESTER!!! ~The English Department mographicSome entries data, Holds/ must be [email protected]. Servicesubmi Indicatorsed to the Un‐ The English Department (checkstops) HUB Student Center dergraduate Library Wring Prize brochures Getting ready to graduate??? Getting ready to graduate??? Seniors ready to Graduate: Check with the advisor in Seniors planning on graduating: DeadlinesDegree Application are as followsdeadlines: are asyour Check major with theto advisorbe sure in all The Library Skills Test must September 1, 2016 department requirements be completed or you will not follows: your major to be sure all de- *Library Skills must be complet-  File by July 15, 2016 have been satisfied AND be conferred! alsopartment check requirements with your havegen- ed or you will not be conferred! Feb. 1, 2017 eralbeen Academicmet AND check Advisor with to You MUST file your  File by Oct. 15, 2016 *You MUST file your Applica- be sure all of your June 1, 2009 (file by Feb. 1, 2009) your general advisor to be Application for Degree on June 1, 2017 University requirements timetion or for it Degreewill automatically on time. Late Sept.File 1, 2009by Feb. (file 15,by July 2017 1, 2009) have sure been all of your satisfied! University be applications entered will for automatically the next available conferral date! requirements have been met. be entered for the next eligible Feb. 1, 2010 (file by Oct. 1, 2009) HAVE A GREAT SEMES-